TYe. 



Shakespeare's part 



IN 



'The Taming of the Shrew." 



.V DISSERTATION PRESENTED TO THE PHILOSOPHICAL FACULTY < >»• 

THE KAISER-VVTLHELMS-UNIVERSITY, STRASSBURG, FOR THE 

DEGREE OF DOCTOR OF PHILOSOPHY. 



Vi 

ALB K R T H. TOLMAN, 



SSOK OF ENGLISH LITER ATl'Kl AND RHETOKIC, RIPOIS I H.I.EGE, I • 
WISCONSIN, I . S, A, 



VON DER FACULTAT GENEHMIGT 

AM 27 JULI, 1889. 



■* 



*p 



to 



To MV HONORED TEACHER, 

Professor Dr, B. ten BRINK. 



GIFT 

MRS. WOODROW WfLSOlT 

NOV. 23, 1939 



Tabic of ( bntents. 

Introduction 7 

I. Sources of The Taming of the Shrew (TTS.) s 

A. Direct Sources of TTS,,, 8 

tf7CTAS.)ancT The Supposes art- direct sources ofTTS. 
and the most important ones — unless TAS. and 
TTS. have a common source in an earlier ver- 
sion of TTS., a work of Shakespeare's youth. 8 

1. Outline of the story of The Supposes of the 

story of TAS., and of that of TTS 10 

\ 

2. The Date of TAS 15 

3. The Date of TTS 16 

4. The Relation of TAS. to The Supposes 20 

5. The Relation of TTS. to The Supposes 21 

6. Is TAS. one source of TTS. ? 22 

7. The Theory of PkOFKSsoR tk.\ Br ink 32 

b. Less Important Works that may be direct sources 

of TIBS 34 

B. Remoter Sources of TTS 36 

a. Of the Induction 36 

b. Of the Bianca Intrigue 38 

c. Of the Taming Process 3<S 

d. Of the Wager Episode 43 

II. The Authorship of TAS 44 

III. Shakespeare's Part in TTS 57 

Deprinted from tlie Publications of the MoUSkn I.am.i a<.i- A--"' fA'rioK op Amhrica, 

Vol. v. X.,. 4. 



"N 



Introduction. 1 

Sonic of the plays published in the Shakespeare Folioof [623 
show in their different parts very great inequalities in style and 
in dramatic effectiveness. In some places these differences he- 
come so marked that the question is forced upon the attentive 
reader, — Can this play be wholly the work of Shakespeare ? 

We know that the dramas which come to us from the days <>t 
Elizabeth and James the First were frequently produced by two 
or more writers working together. The literary partnership of 
BEAUMONT and FLETCHER was remarkable only for the num- 
ber of dramatic compositions which were produced by the com- 
mon labors of those authors. That it would not have been con- 
sidered a strange thing- in Shakespeare's day for him to be- 
engaged in this kind of literary composition, is shown by the first 
edition of the play entitled The Two Noble Kinsmen. This 
piece was first published in 1634, and declares on the title page, 
whether truly or not, that it was "Written by the memorable 
Worthies of their time, Mr. John Fletcher and Mr. William 
Shakespeare, Gent." 

Let us look for one moment at a play published as SHAKE- 
spkare's in the Folio of 1623, King Henry I'///. The poet 
Tennyson came to the conclusion, as a young man, that this 
drama is not entirely the work of Shakespeare. He called the 
attention of his friend, Mr. James Spedding, to the similarity 

1 1 am indebted to Professor TEN Brink for suggesting tome the subject of 
this dissertation, and for most valuable help during the preparation of the 
same. Inasmuch as the dissertation has been finished in the United States, Pro- 
fessor TEN Brink is in no way answerable for its shortcomings. 

I am grateful to Professor ALBERT S. Cook, Dr. HERBERT EVELETH 
Greene, and Mr. Lank, of the Harvard University Library, for helping me to 
the use of much-needed books. I desire to thank, also, the management of the 
Boston Public Library for granting me, while this paper was being completed, 
every facility in the use of their remarkable collection of Shakespeariana. 

I am very especially indebted to Dr. HERBERT EVELETH < Ikki-.nk for reading 
this paper before the Modern Language Association of Aikmh \ in my 
Vtead. His hearty interest in the work of another was as intelligent as it was 
unselfish ; and his friendly help will always he to me a most pleasant remem- 
brance. His published comments apply- perfectly to the form which the paper 
had when read bv him. 



g ALBERT H. TO I.MAN. 

of the style in certain portions of this play to that of the poet 
Fletcher. Spedding, in a careful article, assigned certain 
parts of the play to Shakespeare and the remainder to 
Fletcher. 2 This division was determined by considerations 
drawn from differences in the style and the metre of the various 
parts. The division which he made has been confirmed by the 
the judgment of many critics of high rank, and by the applica- 
tion of different metrical tests. Konig, a German scholar, in 
a new and thororough investigation of Shakespeare's versifi- 
cation, finds Spedding's conclusions to be supported by a full 
consideration of the metrical evidence. 23 Mr. Furnivall even 

says: " Mr. Spedding's division of the play may 

be lookt on as certain." 3 

Delius, however, does not feel sure of the presence of a sec- 
ond hand in " Henry VIII " ; and thinks, in any case, that some 
imitator of Fletcher is more likely to have helped Shake- 
speare than Fletcher himself.-* 

There are other plays in the Folio of 1623 concerning which 
either a few or many, reputable critics, think that Shakespeare 
cannot have been the sole author. Such plays are Titus An- 
dronicus, Timon of Athe?is, Pericles and The Tami?ig of the 
Shrew. This last piece will form the subject of the present 
paper. , 

I. Sources of The Taming oe the Shrew (TTS.). 
A. Direct Sources. 

a. The Taming oe a Shrew ( TAS.) and The 
Supposes are direct sources of TTS. and the most important 
ones — unless TAS. and TTS. have a common source in a 
ivork of Shakespeare's youth, an earlier version of TTS. 



The Taming of the Shrew (TTS.) stands in very close con- 
nection with a play entitled The Taming of a Shrew (TAS.). 
The latter piece was first printed in 1594, again in 1596, and a. 



2 1850. Reprinted Trans. New Sliak. Soc, 1874. 

2a"DerVers in Shakspere's Drameri," p. 136. Quellenund Forschungcn, 
l\i, Strassburg, '1888. 
3' Leopold Shakspere" 
\JaIirb. der deutschen Sh. Ges., xiv. 



TAMING OF THE SHREW. 9 

third time in 1607. " This play and Shakespeare's," says HUD- 
SON, " agree in having substantially the same plot, order and 
incidents, so far as regards the Lord, the Tinker, Petruchio, 
Catharine, and the whole taming process .... The 
underplot, however, is quite different. I may add that such 

striking agreements exist in the language of the two plays, that, 
with a single exception, no investigator, so far as I know, has 
failed to take it for granted that one of the plays must be directly 
based upon the other, but students of Shakespeare have not 
felt entirely certain as to which play should be looked upon as 
the original. 

Until recently, TTS. has not been supposed to have appeared 
in print previously to the publication of the First Folio edition of 
Shakespeare's plays in 1623 ; but Mr. Quaritch, the London 
bookseller, offered for sale a few years ago an undated Quarto 
of TTS. which he believes to belong between the years 16 15 
and 1620. This Quarto may explain the absence of TTS. from 
the list of those plays of Shakespeare, which, in 1623, had not 
been " entered to other men." 

The conjecture of Professor ten Brinks that both TAS. and 
TTS. go back to an earlier play, a work of Shakespeare's 
youth, is as helpful as it is original. Some difficulties have 
never been explained, I think, except by this view. Professor 
ten Brink, however, has not yet presented the evidence in full 
upon which his theory is based. This view will be given 
more at length in another place. (See p. 3^.) 

It was originally my desire to publish as a part of this paper 
an edition of TAS. and TTS. in parallel columns. After I 
had given up all hope of doing this, I was gratified by the 
appearance of Volume ii. of the ' Bankside Shakespeare's* In 
this book Mr. Albert R. Frey gives us both plays, with an 
Introduction. As a parallel edition of the two comedies, this 
book seems to me, both in plan and execution, to deserve the 
highest praise. 

Both TTS. and TAS. borrow very much of their plot from 

The Supposes, " a comedy written in the Italian tongue by Ari- 

osto, Englished by George Gascoigne, of Gray's Inn, Esquire ; 

and there presented, 1566." TTS. borrows much more from 

The Supposes than does the companion play. 



Sjahrbuch der deutschen Sh. Ges ., Bd. xiii. 

5a New York, 1888. Pub. by Shakes. Soc. of N. Y. 



IO ALBERT H. TOLMAN. 

i. Outline of the story of The Supposes, of the story of TAS. 

and of that of TTS. 

It seems best to begin our consideration of these three come- 
dies and the relations existing between them by putting before 
us a comparative table of the characters which appear in them, 
and a synopsis of the action of each play. A knowledge of the 
story of TTS., however, and the occasional use of the compar- 
ative table of characters, will be sufficient for a clear understand- 
ing of the following paper. The drier work of comparing in 
detail the course of action in the three plays can be postponed 
if desired. The correspondences between the characters of the 
three plays that we are to consider are indicated in the following 
table. The differences between two corresponding characters 
are sometimes very marked. Some characters in The Supposes 
to which the other plays have no corresponding roles are the 
following : — Pasiphilo, a Parasite ; Balia, Polynesta's nurse ; Psi- 
teria, an old hag ; an Inn-keeper of Ferrara ; Petruchio, servant 
of Scenese ; Litio, servant of Philogano. The names of these last 
two characters have been taken into TTS. — The characters in 
the Inductions of TTS. and TAS. are omitted. 

In the table, the real names of real lovers and the pretended 
names of pretended lovers are put in CAPITALS. The names 
of servants and teachers, real and pretended, are put in Italics. 
A dash stands between the rightful and the assumed role of a 
person ; also, in the case of Valeria (TAS.), between the first- 
assumed role and the second. 



TAMING OF THE SHREW. 



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12 ALBERT H. TOLMAN. 

The Supposes is " the first play written in prose in our lan- 
guage." 6 

The story may be outlined as follows : 

The .Supposes. 

(1. i.) From a conversation between Balia, the nurse, and Poly- 
nesta, it appears that Erostrato-Dulippo, the servant of Polynesta's 
father, Damon, visits Polynesta in secret as her accepted husband. 
Dulippo-Erostrato, servant of the true Erostrato, has taken the role 
of his master, and urges a pretended suit for Polynesta. (I. ii.) Pa- 
siphilo, a parasite, Matters Cleander, an old lawyer, and assures him 
of success in winning Polynesta. (I. iii.) Pasiphilo complains of Cle- 
ander's parsimony and the scant fare at his table. Eros.-Dulippo 
explains in soliloquy his unfortunate position as the guilty lover of 
Polynesta. Damon, the father, wishes her to wed Cleander, since 
l)ul. -Erostrato can give no asssurance of a dowry. (I. iv. ; II. i.) 
Dul. -Erostrato explains to Eros.-Dulippo that he has induced an 
old Scenese to play the role of Philogano (father of the real Eros- 
trato), and to make assurance of a dower for Polynesta as the bride 
of Dulippo-Erostrato. Scenese [Sienese] has been frightened by a 
false story of unfriendly relations between Siena and Ferrara. 
(II. ii.) Scenese instructs his servants concerning his new role. 
(II. iii.) Eros.-Dulippo explains to Cleander that Pasiphilo gives 
pretended assistance to each suitor. (III. i. ; III. ii.) Eros.-Du- 
lippo laments his unfortunate position. (III. iii.) Damon has learned 
of Polynesta's shame. He commands that Eros.-Dulippo be bound 
and put into the dungeon. He laments over his own disgrace. 
(III. iv.) Pasiphilo overhears the truth concerning Polynesta. (III. 
v. ; IV. i.) Dul. -Erostrato is in distress because the true Philogano 
has unexpectedly arrived. (IV. ii.) Philogano appearing, Dul.- 
Erostrato runs away. (IV. iii.) Ferrarese inn-keeper leads Philo- 
gano to the house of the pretended Erostrato. (IV. iv.) They are 
told by the servant that Philogano has already arrived. (IV. v.) 
The false and the true Philogano give each other the lie. Scenese- 
Philogano goes back into the house. (IV. vi. ; IV. v ii.) Dul. -Eros- 
trato maintains his assumed role before Philogano. (IV. viii.) Fer- 
rarese advises that Philogano seek the help of the lawyer Cleander. 
(V. i. ; V. ii.) Dul. -Erostrato, learns from Pasiphilo of the imprison- 
ment of Eros.-Dulippo. (V. iii.) Dul. -Erostrato decides to confess 
all to Philogano. (V. iv. ; V. v.) It appears that Philogano's former 
servant, the real Dulippo, is Cleander's long-lost son. (V. vi. ; V. vii.) 
Pasiphilo tells Damon the whole truth about Dulippo and Erostrato, 
and the. change of roles. (V. viii.) Scenese and Philogano are recon- 
ciled. (V. ix. ; V. x.) Meeting of all the characters. Mutual expla- 
nation and forgiveness. 

The story of The Taming of a Shrew and that of The Tam- 
ing of the Shrew will be given in parallel columns for conve- 
nience of reference. 



6 Hawkins: 'The Origin of the English Drama.' Vol. iii, 1773. 



TAMING OF THE SHREW. 



J 3 



The Taming of a Slwew. 

TAS. 

(Induction.) Tapster beats Sly out 
of doors. Sly gives a drunken answer 
and falls asleep. A Lord, returning 
from hunting, rinds Sly. lie proposes 
to dress Sly as a Lord, and to make him 
think, on waking, that he is such. The 
servants are instructed to carry out the 
plot. — A travelling troupe of players 
offer their services. They are told that 
they are to play before a Lord who is 
"something foolish." — A page is in- 
structed to play the role of Sly s Lady. 



Sly wakes. Servants offer him drink 
and apparel. Music plays. Servants 
suggest different pleasures. Page comes 
in as Lady. Sly says to the real Lord, 
" She and I will go to bed anon " ; but 
he welcomes the proposed play. 



[TAS. is not divided into Acts and 
Scenes.] 

[Sc. i.] Polidor welcomes to Athens 
Aurelius, son of the Duke of Cestus. 
Alfonso and three daughters pass by. 
Aurelius suddenly conceives love for 
the second. Polidor declares that he 
has long loved the youngest, but that 
the father requires that the eldest, a 
shrew, shall first be married. Polidor 
thinks of Ferando as a match for the 
shrew, Katharine. Aurelius decides to 
woo in the character of a Merchant's 
son. Ferando enters, on the way to 
woo Katharine — of his own motion. 
[Sc. ii.] After Ferando makes an ar- 
rangement with Alfonso, the father of 
the shrew, he and Kate have a sharp 
dialogue, Alfonso, coming back, ap- 
points Sunday next as the marriage 
day.— [Sc. iii.] Jesting between San- 
der and Ferando; then between Sander 
and Polidor's boy. — [Sc. iv.] Aurelius 
sends Valeria to Alfonso as a Musician. 
Valeria is to get an opportunity to in- 
struct Katharine on the lute. Thus 
Aurelius hopes to get free access to 
Emilia. — [Sc.v.] Polidor presents Au- 
relius to Alfonso as a Merchant's Son. 
[Sly and the Lord converse.] — [Sc. vi.] 
Valeria seeks to teach Kate. She 
threatens to strike him with the lute and 
leaves him. — (Sc. vii.) Polidor and 
Aurelius make love in grand words 
to Emilia and Philema, and are kindly 
answered. 



The Taming of the Shrew. 
TTS. 

(Ind. I.) Hostess comes in quarreling 
with Sly. He gives drunken answers 
and falls asleep. A Lord, returning 
from hunting, gives directions for the 
care of his dogs. He finds Sly. He 
forms the plan to dress Sly as a Lord 
and to make him believe, on waking, 
that he is such. The servants are in- 
structed to carry out the plot. — A trav- 
elling troupe of players offer their 
services. They are told that they are to 
play before a lord who may show some 

odd bjhavior." — A page is instructed 
to play the role of Sly's Lady. 

(Ind. II.) Sly wakes. Servants of- 
fer drink, food, raiment. Music plays. 
Servants suggest different pleasures. 
Sly is convinced. Page comes in as 
Lady. Sly asks her to come to bed; 
but yields reluctantly to the pretended 
requirements of the physicians. Ac- 
cepts the play that is offered, but has no 
interest in it. 



(I. i.) Lucentio and his servant Tra- 
nio have come to Padua to study. Bap- 
tista enters with his two daughters, 
Katharine and Kianca, and two suitors 
of Bianca, Hortensio and Gremio. Bap- 
tista declares that Katharine must be 
married before he can bestow Bianca; 
he asks for teachers for Bianca. Kath- 
arine displays her shrewishness. The 
sight of Bianca inspires Lucentio with 
love. He takes the role of Cambio, a 
teacher of languages. Tranio takes the 
role of his master, with Biondello as his 
servant. Tranio-Lucentio is directed 
to make one of Bianca's suitors. [Sly 
converses with servant and Page-Lady.] 
— (I. ii.) Petruchio, with his man Gru- 
mio, comes to visit Hortensio. He tells 
Hortensio that he is seeking his fortune 
and wishes to marry. Hortensio laugh- 
ingly suggests Katharine, the shrew; 
but Petruchio at once decides to woo her 
because of her wealth. Petruchio is 
to present Hortensio to Baptista as 
Licio, a music-teacher. Gremio comes 
in with Lucentio-Cambio. Tranio-Lu- 
centio comes in with Biondello, and 
declares himself a new suitor for Bianca. 
— (II. i.) Katharine torments Bianca. 
The suitors come. Petruchio offers 
himself as suitor for Katharine. Hort.- 
Licio and Luc. -Cambio are presented 
as teachers for Bianca. Tran. -Lucen- 
tio offers himself as suitor for Bianca. 
Petruchio and Baptista make an agree- 
ment as to dowry. Hortensio, coming 
in with a broken head, tells of his 
attempt to teach Katharine on the lute. 



14 



ALBERT H. TO L MAN. 



[Sc. viii.J Ferando comes to his wed- 
ding basely attired ; he explains that 
the Shrew would spoil his costly suits. 
All object; but he insists, and they go 
to the church. — [Sc ix.J Jesting be- 
tween Sander and Polidor's boy. 

[Sc. x.] After the wedding, Feran- 
do insists on going home at once. Kate 
refuses, but is made to go. Alfonso 
accepts Aurelius-Merchant's Son as the 
betrothed of Philema. 

[Sc. xi.] Sander prepares the 
servants at Ferando' ^ house for their 
master's coming. Ferando, on coming, 
finds fault with preparations, beats San- 
der for pulling his boot off carelessly, 
throws down table and meat, and beats 
the servants. Explains his purpose to 
subdue Kate by depriving her of sleep 
and food. — [Sc. xii.] Aurelius and 
Valeria plot to have Phylotus play the 
role of the Merchant, father of Aurelius 
as Merchant's Son. — [Sc. xiii.] Kath- 
arine tries in vain to coax meat from 
Sander. Ferando brings meat on point 
of his dagger. Kate not being thankful, 
he is about to take it away, but keeps it 
at Polidor's intercession. Kate is defi- 
ant. — [Sc. xiv.] Phylotus, as Mer- 
chant-father of Aurelius, promises 
Alfonso to give means to the young 
couple, Valeria is now presented as 
Son of Duke of Cestus. 



[Sc. xv.] Haberdasher brings cap 
for Katharine, which she likes but Fer- 
ando rejects. Tailor brings her a dress, 
which Ferando derides and rejects. 
Ferando proposes that they go to the 
house of Kate's father. Incidentally he 
names the hour incorrectly. Because 
Kate does not agree with him as to the 
house, he gives up the journey. — [Sc. 
.wi.] High-sounding love-making be- 
tween Polidor and Emilia, and Aurelius 
and Philema. They go to be married. 
[Sly and the Lord comment.] — [Sc. 
xvii.J Ferando and Katharine set 
out for Alfonso's. Ferando speaks of 
the moon as shining. Kate says it is 
the sun, but yields rather than go back. 
The Duke of Cestus, entering, is ad- 



Petruchio declares his method of woo- 
ing. Katharine coming in, he and she 
have a sharp dialogue. He tells the 
others on their return that Katharine 
loves him, but he and she have bar- 
gained that "she shall still be curst in 
company." Tran.-Lucentio outbids 
Gremio for the hand of Bianca. 

(IH. i.) Luc.-Cambio and Hort.- 
Licio contend for precedence in in- 
structing Bianca. Each woos while 
pretending to teach. Luc.-Cambio re- 
ceives encouragement. 

(III. ii.) It is Petruchio's wedding- 
day, but he has not come. Biondello 
announces the arrival of Petruchio and 
describes his mean attire. Petruchio 
insisting on being married in this array, 
they go to the church. 

Tran.-Lucentio suggests to Luc-Cam- 
bio a stolen marriage with Bianca. 

Gremio describes the marriage scene. 
The company comes from church. Pe- 
truchio insists on going home at once 
with Katharine, and does so in spite of 
her blunt refusal. 

(IV. i.) Gremio, at Petruchio's house, 
describes to the servants the homeward 
journey of the married couple. Petru- 
chio comes, and is furious because the 
servants do not meet him. He strikes 
one for pulling his boot off carelessly ; 
finds fault with the meat and throws it 
about the stage. Explains his plan to 
deprive Kate of food and rest while 
pretending " That all is done in rev- 
erend care of her." 

(IV. ii.) Tran.-Lucentio and Hort.- 
Licio see that Luc.-Cambio is loved by 
Bianca, and they swear together to give 
her up. Hortensio discloses himself, 
and goes off to woo a widow. Tran.- 
Lucetio deceives a Pedant from Mantua 
with a false story of a war between 
Mantua and Padua. He induces the 
Pedant to save his own life by feigning 
to beVincentio, the father of Lucentio. — 
(IV. iii.) Katharine in her hunger begs 
Gremio in vain for meat. Petruchio 
brings her meat. 

Haberdasher brings cap for Kate. 
She likes it, but Petruchio derides it. 
Tailor brings dress. Petruchio derides 
the dress and scolds the Tailor. The 
dress is refused. Petruchio proposes 
that they go to the house of Kate's 
father. Because she does not follow 
him in naming the time of day wrongly, 
he at once refuses to go. 

(IV. iv.) Pedant-Vicentio arranges 
with Baptista for the marriage of Tra- 
nio-Lucentio with Bianca. Biondello 
arranges with Luc-Cambio for the 
secret marriage of the latter with Bian- 
ca. — (IV. v.) Petruchio, Katharine and 
Hortensio set out for Baptista's. Petru- 
chio speaks of the moon as shining. 
Kate says it is the sun, but yields rather 



TAMING OF THE SHREW. 



15 



dressed by Ferando as a woman ; then 
by Kate in the same strain. Ferando 
commends Kate. — (Sc. xviii.j Alfon- 
so, Phylotus, Valeria and the two new- 
ly-wedded pairs come from the wedding; 
they wonder that Ferando and Katha- 
rine are absent. Duke of (.'est us comes 
in while Valeria is speaking as his son ; 
he accuses Valeria of falsehood, and 
orders that he be taken to prison. [Sly 
will have no sending to prison, on his 
authority as a Lord. Drinks and falls 
asleep.] Duke reproaches Aurelius. 
Aurelius implores forgiveness. All join 
him. The Duke relents. [Sly is dress- 
ed in his former clothes while asleep 
and borne to the place where he was 
found] 

(Sc. xix.) The three husbands en- 
ter from supper. Aurelius proposes a 
test for a wager to see whose wife is 
most obedient. Polidor thinks Feran- 
do should not be asked to take part ; 
but he does, and gets the wager raised. 
Alfonso predicts that Ferando will lose. 
Aurelius sends for his wife ; she is busy 
but will " come anon." Polidor's wife 
bids him come to her. Kate comes 
when sent for. At Ferando's request, 
she first treads her cap under foot ; then 
brings her sisters in ; and then expounds 
to them the duty of wifely obedience. 
[The Tapster, in the midst of a grandil- 
oquent speech, finds Sly. Sly thinks he 
has dreamed the whole night's experi- 
ences. He goes home to use his newly- 
acquired knowledge upon his wife.] 



than go back. The true Vincentio en- 
tering is addressed by l'etruchio as a 
woman, then by Kate in the same 
strain ; then l'etruchio addresses him as 
an old man, and Kate changes in the 
same way. 

(Y. i.) l'etruchio takes Vincentio to 
the house of Tran.-I.ucentio, and pit.' 
sents him as Lucentio's father. Pedant- 
Vicentio asserts his assumed role. Bi- 
ondello and Tran-I.ucentio refuse to 
recognize Vincentio. Luc.-( 'amino and 
Bianca come in from being married and 
beg for pardon, which is granted them, 
l'etruchio compels Kate to kiss him in 
the street. 



( V. ii.) All sit and jest at a banquet. 
After the ladies have gone out, Petru- 
chio is joked with because of his shrew- 
ish wife. He proposes that the obedi- 
ence of the wives be tested for a wager. 
Pianca, when sent for, is busy and can- 
not come ; Hortensio's widow bids him 
come to her; Katharine comes at once 
when called. She is sent after the 
other ladies and brings them. When 
told to tread her cap underfoot she does 
so. At Petruchio's request she explains 
to the other ladies the duty of wifely 
obedience and its grounds. 



2. THE DATE OF T A S. 



The date of the composition of T A S. has not been deter- 
mined. A passage in Greene's novel, ' Menaphon. Camila's 
alarm to Slumbering Euphues, etc,' contains a possible allusion 
to TAS. The passage reads : " Wee had, answered Doron< 
an Eaw amongst our Rams, whose fleece was as white as the 
haires that grow on father Boreas chinne, or as the dangling 
deawlap of the siluer Bull." 7 With this, compare the lines, — 

" Sweete Kate the louelier then Dianas purple robe, 
Whiter then are the snovvie Apenis, 
Or icie haire that groes on Boreas chin." 8 

Says Halliwell-Phillipps, — "It is obvious to be as likely 
for the author of the comedy [TAS.] to have had Greene's 
words in his recollection, as for the latter to have quoted from 
the play." 9 The words of Thomas Nash, however, in a pre- 

7 Arber's ' Reprint,' p. 74. 

8 TAS. ' Bankside S.,' ii, 11. 678-680. 

9' Outlines of the Life of Shakespeare.' Vol. ii., p. 280). 



!6 albert h. tolman. 

face to ' Menaphon. Camila's alarm. . . . ', addressed " To 
the Gentlemen Students of both Universities," seem to me to 
make it probable that T A S. was in existence when he wrote. 
The passage runs as follows : 

" I am not ignorant how eloquent our gowned age isgrowen of 
late ; so that euerie moechanicall mate abhorres the english he 
was borne too, and plucks with a solemne periphrasis, his vt vales 
from the ink-horne ; which I impute not so much to the perfec- 
tion of arts, as to the seruile imitation of vainglorious tragoe- 
dians, who contend not so seriouslie to excell in action, as to 
embowell the clowdes in a speech of comparison ; thinking 
themselves more than initiated in poets immortalitie, if they but 
once get Boreas by the beard, and the heavenlie bull by the 
deaw-lap." IO 

Professor Arber thinks " that Nash's Preface could ?iot have 
been written before November, 1588." The novel itself was 
entered on the books of the Stationers' Company, on Aug. 23, 
1589, and was printed during the same year. If an allusion to 
TAS. is intended by Nash, the date of the play cannot be put 
later than 1588. As already noted, TAS. was first printed in 

1594- 

3. THE DATE OF TTS. 

Let us look first at the allusions to contemporary plays, etc., 
which are contained in TTS., in order to see if these will help 
us in fixing the date of the play. The force of some of the 
supposed allusions seems to me to be entirely uncertain. Says 

Fleay : " II. L, 297 [' For patience she will prove a second 
Grissel '] refers to Patient Grissel, by Dekker, Chettle and 
Haughton, December, 1599; 'curst' in II. i. 187, 294, 307; V. 
ii. 188, to Dekker's Medicine for a Curst Wife, July, 1602 ; and 
IV. i. 221 [' This is a way to kill a wife with kindness '] to Hey- 
wood's Woman Killed with Kindness, March, 1603." IX There 
is nothing in these passages, I think, to show that TTS. is 
either earlier or later than any one of these plays. Shake- 
speare regularly uses " curst " in this sense. The Two Gen- 
tlemen of Verona has it (III. i., 347), a play which Meres 
mentions in 1598. The old ballad, The Wife Lapped in Morels 
Skin, uses the word in this sense ; that ballad was probably 
known to Shakespeare ; at any rate it exemplifies the usage of 
the time. Rolfe's edition of TTS. cites Clarke" as saying, 

10 "Arber Reprint," p. 6. Cf. Fleay's ' Life and Work of S.,' p. 99. 
11 ' Life and Work of S.' 1886. p. 225. 



TAMING OF THE SHREW. \- 

concerning the phrase " to kill a wife with kindness," — "A familiar 
expression which suggested the title of Heywood's play, A 
Woman Killed with KindnessT This interpretation is as natu- 
ral as that of Fleay. 

Twelfth Night IV. L, 55, " Rudesby, begone ! "—and T T S. 
III. ii., 10, "Unto a mad-brain rudesby full of spleen," are prob- 
ably allusions to the old comedy Sir Gyles (iooseeappe. This 
was entered on the Stationers' Registers in 1606 and was pub- 
lished in the same year. The heroine is said to be " the best 
scholler of any woman but one in England." BULLEN consid- 
ers this to be a plain allusion to Queen Elizabeth, which would 
make the date of the play at least as early as 1603. 1 ' 2 FLEAYsays 
that Sir Gyles Goosccappe " must date between 1599 and 1601," 
" because it was produced by the Children of the Chapel " ; also 
that "the reference to the Marechal de Biron's visit, III. i.. 
proves conclusively that the play cannot have been written 
earlier than the autumn of 1601.'' '3 The phrase in Twelfth 
Night, if it is an allusion to Sir Gyles Goosecappe would seem to 
put the date of the latter play as early as 1601. ITS. would 
then have to come in 1601, or later. 

In Women Pleas d, a play of Fletcher, or of Beaumont 
and Fletcher, one Soto, the son of a farmer, attempts to clam- 
ber up to the window of the heroine of the play by means of a 
ladder. His purpose is to make love to the lady, not on his own 
account, but on behalf of his deeply enamored master, Claudio. 
Soto is detected in this attempt, and is thoroughly frightened. 
He does not actually woo the lady at all, not even on behalf of 
another. There is an allusion to this in TTS. : — 

" Lord This fellow I remember, 

Since once he play'd a farmer's eldest son : 
'Twas where you woo'd the gentlewoman so well : 
I have forgot your name ; but sure, that part 
Was aptly fitted and naturally perform'd. 
A Player. [Folio, Sincklo] I think 'twas Soto that 
your honour means." *4 

Frey says that Women Pleas' d was written by BEAUMONT 
and Fletcher in the year 1604, and TiECK puts it "before 
1607." I havefound no certain evidence of the date. WARDsays 

iaBULLEN's ' Collection of Old Eng. Plays.' London. 1884. Vol. iii. In 
trod. 

13 BULLEN, iii, pp. 93-4. 14 TTS. Ind. i. 11, 83-88. 



l8 ALBERT H. TOLMAN. 

simply "before 1625." I5 Fletcher was born in December, 
1579, and Beaumont about 1584. Most of the editors, includ- 
ing Dyce, consider Women Pleas' d to be the work of Fletcher 
alone. 

L. 88 in the above passage is printed in the Folio of T623 as 
being spoken by Sincklo. According to Fleay, " Sinklo was 
an actor with the Chamberlain's men, from 1597 to 1604." l6 

Sly's words in the Induction of TTS., " Go by, Jeronimy " (1. 
9, Folio," go by S. Jeronimie"), are an undoubted allusion to 
The Spanish Tragedy of Thomas Kyd. This allusion does 
not help us much, however. Ward thinks that The Spanish 
Tragedy " was certainly printed before its first-known edition of 
1599, and was probably acted about 1588." J ? 

The usually accepted date for the composition of Hamlet is 
1603, in which year the first Quarto of the play was printed. In 
Hamlet, III. ii. 250, Baptista is used incorrectly as the name of 
an Italian woman. It is hard to see how Shakespeare could 
make this mistake after his connection with the Baptista of TTS. 

The composition of TTS. has probably never been put later 
than 1609 ; but Samuel Rowlands's A Whole Crew of Kind 
Gossips furnishes us direct, though not conclusive, evidence that 
it was then in existence. Rowlands's work was printed in 
1609, and seems to contain an allusion to TTS. I cite the pas- 
sage, to which attention was first called, I think, by Mr. Furni- 
vall : • 

" In sober sadnesse I do speake it now, 
And to you all I make a solemne vow, 
The chiefest Art I have I will bestow, 
About a worke cald taming of the Shrow. 
It wakes my heart to fret, my looks to frowne, 
That we should let our wiues thus put us downe." l8 

Nicholas Ling issued a third edition of TAS. in 1607, and 
then sold his copyright, Nov. 19, 1607, to John Smithwick, one 
of the proprietors of the first edition of Shakespeare, the Folio 
of 1623. These facts may well have some immediate connec- 
tion with the date of TTS ; but we do not know definitely how to 
interpret them. 



15 ' English Dramatic Literature,' ii, 210. 

16 ' Life and Work of S.,' p 226. 

17 ' Eng. Dram. Lit.,' i. 170. 

18 Answer of the fifth husband. ' Complete Works ' of Samuel Rowlands, 
vol. ii. Hunterian Club. 1880. 



TAMING OF THE SHREW. 19 

The last one of the four numbered paragraphs which conclude 
Mr. Frey's " Introduction " to Vol. ii. of the ' Bankside Shake- 
speare ' reads as follows : 

" 4. If the play [TTS.] as it now stands was not written be- 
fore 1609 and after November 19th, 1607, all the contemporary 
evidence of Greene, Dekker, Henslowe, Kyd, Beaumont, 
Fletcher and Rowlands must be considered as worthless ; we 
must assign an earlier date to Hamlet than the one now usually 
received ; and we must ignore the remarkable circumstance that 
Smethwick bought the old play in 1607, and lentrthe proprietors 
of the first Folio an improved version of it in 1622 or 1623." '9 

I have been constantly indebted to Mr. Frey's work in dis- 
cussing this topic. In some points, however, I am compelled to 
differ with him. I do not know why he mentions Greene here. 
I do not attach any force to the supposed allusions in TTS. to 
the plays of Dekker ; and the citations from Henslowe 
which Frey gives have reference only to Dekker's Medicine 
for a Curst Wife and to Heywood's Woman Killed with 
Kindness. Frey gives the date of The Spanish Tragedy, by 
Kyd, as 1602, disagreeing with Ward. The different allusions 
that we have been considering seem to put the date of TTS. be- 
tween 1604 and 1609. 

I have said nothing yet about the evidence as to the date of 
TTS. which can be derived from the metrical peculiarities of the 
play. There are difficulties here which I am entirely unable to 
solve. Furnivall says, " The stopt-line test makes Shak- 
speare's part of the play his earliest work." 20 Konig, too, finds 
fewer unstopt (run-on) lines in TTS. than in any other of the 
plays. 21 

In a later portion of this paper I discriminate between those 
parts of TTS. which I think to have been written by Shake- 
speare and those which I cannot think to be his. In doing 
this I add to the difficulty which has just been noticed. Accord- 
ing to my division, unstopt lines are used much more freely 
in the non-Shakespearian than in the Shakespearian parts of 
TTS. (See p. 76). This added difficulty, however, does not 
originate with me. The division of the play which I make dif- 
fers in details, but not in its broad outline, from that made by 
White, Fleay and Furnivall. Any one who admits the 



19 ' Bankside S.,' ii, p. 38. 

20' Leopold Shak.' 

21 ' Der Vers in Sh. Dramen.' Strassburg, 1888. p. 133. 



20 A L D IIR T H. TO J. MAN. 

composite character of the play would be likely to make a some- 
what similar division. 

The Induction of TTS. shows such a high degree of artistic 
skill as to suggest that it may have been written at a different 
time from the body of the play ; yet the unstopt lines are only 
slightly more frequent here than in those other portions of the 
play which I believe to be the work of Shakespeare. I speak 
thus particularly of the unstopt lines, because that test is the 
one of all th£ so-called metrical tests which seems to me most 
likely to furnish an outward mark of the mental and artistic 
growth of the poet. 

How this difficulty is to be explained, I do not know. Per- 
haps some way of escape may be found in connection with the 
theory of Professor ten Brink that TTS. is the revision of a 
play written in the earliest part of Shakespeare's career as an 
author. (See p. 33 f.) 

4. the relation of tas. to The Supposes. 

TAS. seems plainly to have taken the following features from 
The Supposes, whether directly or indirectly : 

1. A young gentleman (Erostrato-Dulippo, Aurelius-Mer- 
chant's Son) disguises himself in order to woo a lady (Polynesta, 
Philema) to better advantage, and wins her heart. His servant 
(Dulippo- Erostrato, Valeria — Son of Duke of Cestus) assumes 
the role of the master. 

2. The pretended master and suitor in The Supposes (Dulip- 
po-Erostrato) secures an aged man (Scenese-Philogano) to play 
the role of his father. The real master in TAS., wooing under a 
false name (Aurelius-Merchant's Son), secures an old man 
(Phylotus — father of Aurelius as Merchant's Son) to act as 
father to him. The false father, in each case, gives assurance 
that his pretended son shall receive the necessary marriage por- 
tion. 

3. The real father (Philogano, Duke of Cestus) of each young 
gentleman (the real Erostrato, Aurelius) comes seeking his son ; 
but he finds that the servant is usurping the son's name and 
rights. The servant (Dulippo, Valeria) refuses at first to recog- 
nize his master's true father. Confession follows on the part of 
the lovers (Erostrato and Polynesta, Aurelius and Philema) ; 
and forgiveness is granted by the father. 



TA MING OF THE SHR ElV. 21 

5. THE RELATION OF TTS. TO The Supposes. 

TTS. seems to have taken from The Supposes, whether 
directly or indirectly, the following important features : 

2. vThe same that have just been given for TAS. 

3- J 

In TTS. the young gentleman is Lucentio-Cambio ; the lady 
is Bianca ; the servant is Tranio-Lucentio ; the false father is Pe- 
dant-Vicentio ; the real father is Vincentio. 

4. The servant who has assumed his master's role (Dulippo- 
Erostrato, Tranio-Lucentio) urges a pretended suit for the hand 
of the same lady (Polynesta, Bianca.) 

5. The young lady (Polynesta, Bianca) who is wooed by the 
young gentleman in disguise (Erostrato-Dulippo, Lucentio- 
Cambio) has ^Tso as suitor an old but wealthy man (Cleander, 
Gremio.) The lady's father desires to give her hand to the 
wealthiest suitor. In The Supposes the young lady and the 
young gentleman disguised as a servant are secretly living as 
man and wife. 

6. An old man (Scenese, Pedant) is deceived by the story 
that he has come to a city that is in unfriendly relations with his 
own. He is glad to escape from supposed danger by assuming 
the role of father to a pretended son (Dulippo-Erostrato, Tranio- 
Lucentio.) 

7. This false father (Scenese- Philoga no, Pedant- Vincentio) 
unknowingly encounters the true father ( Philogano, Vincentio;, 
and vigorously maintains his assumed rdle. 

There are certain clear references to T he Supposes in TTS., as 
follows : 

" I see no reason but supposed Lucentio 
Must get a father called ' supposed Vincentio.' " 

TTS. II. i. 409, 410. 

" Here's Lucentio, 
Right son to the right Vincentio; 
That have by marriage made thy daughter mine, 
While counterfeit supposes bleared thine eyne." 

TTS. V. i. 1 17-120. 

In The Supposes, the Scenese has a servant named Petru- 
chio ; and Philogano has a servant name< I Litio. These names 
have been taken into TTS., but are applied to other characters. 



22 ALBERT H. TOLMAN. 

6. IS TAS. ONE SOURCE OF TTS. ? 

TAS. and TTS. have each an Induction. In a few words, 
phrases and lines, there is a striking resemblance in the language 
of the two Inductions. The expressions which are nearly the 
same in both amount to about seven lines in all. The word 
" pheeze " (TTS. Ind. I. i.) the mention of the "roe" (ii, 50), 
and a mistake in the use of the word " comedy" (intentional in 
TAS. in " commoditie," blundering in Sly's " comonty " — TTS., 
Ind. ii. 140), — are found in both. The agreement in the plan of 
the two Inductions is complete. The handling of this common 
material is somewhat fuller in the Induction of TTS., and is 
dramatically very much finer. 

In the plays themselves, we call attention again to the common 
features taken into both plays from The Supposes (pp. io-nj 
Dyce makes a false impression when he says, " . . . . the ear- 
lier play [TAS.], the author of which has been vainly guessed 
at, contains nothing similar to the incident of the Pedant per- 
sonating Vincentio." It is Tranio-Lucentio in TTS. who 
secures a pretended father. In TAS. the false father is gotten 
byAurelius-Merchant's Son, the counterpart of Lucentio-Cambio 
in TTS. 

The correspondence between those parts of TTS. where Kath- 
arine and Petruchioare upon the stage together and similar pas- 
sages in TAS. is very remarkable. The occurrences are the 
same in both plays. This is also true of the connected incidents 
in Petruchio's house. We find also, in these parts, an agree- 
ment of the very language, which, though much less complete 
than the agreement in the action, is far more remarkable. With 
the exception of Parts ii and iii of Henry VI, I think that such a 
close correspondence as we have here between the language of a 
play attributed to Shakespeare and that of another existing 
play cannot be found. 

Outside of the Induction, of the Petruchio-Katharine parts, 
and of the connected incidents in Petruchio's house, and outside 
of the common features taken into both plays from The Supposes 
— TTS. shows the following additional points of agreement with 
TAS: 

1. Lucentio (Aurelius in TAS.) has come to Padua (Athens in 
TAS.) to visit his old friend Hortensio (Polidor in TAS). He 



TAM/XG OF THE SHREW. 



V> 



unexpectedly sees and becomes enamored of Bianca ( Philemain 
TAS.). 

2. Hortensio (Valeria in TAS.) takes the role of a teacher of 
music, and endeavors to instruct Katharine. The hard treat- 
ment of the musician by the shrew is much the same in both 
plays. It is weakly acted in TAS., sharply related in TTS. 

The setting of this common feature is very different in the two 
plays. Hortensio, in TTS., becomes a teacher of music in 
order that he may woo Bianca while pretending to teach 
her. Valeria takes this role in TAS. in order to instruct Kate, 
the shrew, and so to leave her two sisters free to receive the 
attentions of their suitors. Valeria's assumption of his master's 
role comes after this. Except as a music teacher, Valeria cor- 
responds to Tranio-Lucentio in TTS. * 

In TAS. we have uneventful, grandiloquent love-maKing be- 
tween two lovers, Aurelius-Merchant's Son and Polidor, and 
their conventionally duteous and affectionate ladies. There is 
nothing corresponding to this in TTS. The poetry of these 
passages in TAS. is written in the manner of Marlowe, con- 
tains many lines borrowed from his ' Faust ' and ' Tamburlaine ' 
(see p. 44 f.), and is often very beautiful, even when decidedly 
lofty and inappropriate. Some weak conversations between Fe- 
rando's man, Sander, and Polidor's boy have also no counterpart 
in TTS. 

In TTS. we have here a sharp race for the hand of Bianca on 
the part of three real suitors and one pretended one. This con- 
test is borrowed from The Supposes, but Hortensio as a third 
real suitor for Bianca is new. When he changes his purpose 
and pays court to the widow, the situation resembles in a meas- 
ure the three-fold wooing of TAS. ; but the old Gremio, and 
Tranio-Lucentio as a lover, are not in TAS. in any form. 

As regards the origin of the plays, TAS. and TTS. may 
stand to each other in any one of several relations : 

1. The common part of TTS. and TAS. may be derived from 

a common source (S). These plays may get some (A 1 , A 2 ), or 

all (B), or none (C) of the features found in them and also in 

The Supposes through this common source. The following 

figures may help to make this clear : 




TAS 




TAS 



Sup. 



TTS 



C 



Since there is no part of that which has been taken from The 
Supposes into TAS., which is not also found in TTS., the figures 
A 2 and C represent suppositions which are very improbable. 
The amount of the borrowing from The Supposes in TTS. is so 
much greater than in TAS., that B may also be eliminated, as 
being very improbable. The only figure which remains is A 1 . 

Sup. 




TAS TTS 

This figure represents very well the theory of Professor ten 
Brink (see p. 33 f.) 

2. TTS. may be a direct source of TAS. In this case there 

is no need that TAS. should take anything from The Supposes 

except through TTS. 

Sup. 



TTS 



TAS 



3. TAS. may be a direct source of TTS. 

Sup. 



TAS 




TTS 



The students of Shakespeare have generally accepted as 



TAMING OF THE SHREW. 2^ 

true the supposition which I have numbered 3; although, as 
Hudson points out, this " does not seem to have been proved." 
I wish to offer now some reasons why this third supposition, 
which makes TAS. older than TTS. and a direct source of it, is 
more probable than the second, which reverses this order. The 
considerations which I advance have lor the most part, however, 
no force against the first supposition. 

A. The superiority of TTS. to TAS. in the dramatic effec- 
tiveness of its language and handling, and especially in the force 
of those speeches and incidents which are found only in TTS., 
make it unlikely that TAS. is derived from TTS. Some of the 
most effective features of TTS. are not present in TAS. 

The most important points of difference between the two In- 
ductions (and their short continuations) show the superiority of 
TTS. I can perhaps particularize them as follows : 

1. The Induction in TTS. opens more dramatically than that 
of TAS., with more taunts and retorts, and sharper ones. 

2 The Lord in the Induction of TTS. is more realistically 
drawn than his counterpart. Instead of uttering high-sounding 
declamation, he makes sharp comments on the day's hunting, 
and gives careful directions as to the care of his hounds. The 
following comment is of interest in connection with the two points 
just particularized : 

" 1st auch Manches nicht libel darin [im Vorspiel TAS.], so 
wird es doch von den Ungehorigkeiten und Platitiiden iiber- 
wuchert. Der Gegensatzzu Shakespeare aber ist handgreiflich. 
Dieser ermassigt das Widerwartige in der Erscheinung des 
Trunkenbolds durch wirklichen Humor und zeigt seine Welt- 
und Menschenkenntniss, indem er den Lord natur- und sach- 
gemass sprechen lasst. Sein Euphuismus im Gesprach mit 
Schlau ist beabsichtigt und als Spass gemeint. Gleich die 
Ruckkehr von der Jagd is voller Leben, Bewegung und Indi- 
vidualisirung. Demn'achst das Gesprach mit den Schauspiel- 
ern." 22 

3. The plan for deceiving Sly is not formed at one burst in 
the Induction of TTS., but is a gradual, though rapid growth in 
the mind of the Lord. 

4. The elevated language of the Induction of TAS. has no 
especial fitness, unless it be where the servants are imposing 
upon the ignorant and vulgar Sly. Here only does the Induc- 
tion of TTS. take a similar tone. 



22 " Shakespeare und seine Vorlaufer." W. Hertzberg. Jahrbuch der 
deutschen Sh. Gisellschaft. xv., p. 382. 






26 ALBERT H. TOLMAN. 

5. The servants, in the Induction of TTS., refer to the persons 
and scenes which belong to Sly's past life, but claim to know 
these only through his own delirious ravings. By this device 
Sly is convinced that the past life, which he seems to remember, 
has never existed. 

6. Sly talks vigorously in his proper character, in the Induction 
of TTS., before yielding to the deception. These speeches are 
admirable in their realism and rich humor. 

7. The troupe of actors, in the Induction of TAS., 

"... Are referred to as a company employed by the 
Lord. This is crude workmanship, as only a few lines below 
we find the nobleman asking, 

" Now sirs, what store of plaies have you ? ' 

It would thus appear that he is unacquainted with the perform- 
ances of his own troupe. But in the Folio they are designated as 

' players 
That offer service to your lordship,' 

A most decided improvement upon the older version." 2 3 

In all the points so far made, the Induction of TTS. is more 
effective than that of TAS. In two features the Induction of 
TAS. seems to be the more effective : 

8. It seems unfitting that Sly should talk blank verse (TTS. 
Ind. ii, 70-119). This appears to be Fleay's reason for reject- 
ing the Shakspearean authorship of the Induction. 2 * Delius 
and A. von Weilen, however, consider the final use of blank 
verse by Sly to be a fine feature, as making an attempt on his 
part to make his language correspond to the new role in which 
which he finds himself. 

" Wahrscheinlich wollte Shakespeare damit die gute Manier 
andeuten, mit welcher Sly sich in die ihm zugemuthete Edel- 
mannsrolle findet." 25 

" Er findet sich in die ihm aufgedrungene Rolle, aber nichtso 
plotzlich wie in derVorlage, sondern'erstnach und nach orientirt 
er sich in der fremden Umgebung, wobei Shakespeare ihn sehr 
glucklich auch aus seiner prosaischen Sprache in die rhyth- 
mische Redeweise des neuen Kreises iibergehen lasst." 2<5 

23 ' Bankside Shakes.,' ii., Frey's Introd., p. 8. 
24' Life of Shakes.,' p. 226. 

25 N. Delius. Jahrb. der dentschen Sh. Ges., xv., p. 234. 

26 A. von Weilen. ' Shakespeares Vorspiel zu der Widersp. Zahmung.' 
P- i5- 



TAMING OF THE SHREW. 27 

9. In TAS. the action of the Induction is set forward by the 
comments of Sly and his companion, the Lord, at different points 
in the progress of the main play ; and the story of the Induction 
is brought to a satisfactory conclusion at the end of the principal 
action. Sly falls asleep, and is skillfully restored to his former 
sphere of life. 

Here TTS. is badly deficient. Sly is left upon the stage, but 
nothing more is heard of him. The realistic portrayal of his 
amorousness at the close of the Induction of TTS. may seem to 
make it undesirable to follow his mental processes any farther ; 
but this consideration would not have troubled SHAKESPEARE. 
What explanations are possible, however, for this failure to com- 
plete the action of the Induction of TTS. ? I can think of two : 

a. "It may have been customary for the actors to carry out 
the tinker in his chair at the conclusion of the performance. 
This assumption is strengthened by the fact that Sly 'nods and 
does not mind the play.' " 2 ? 

b. Our text of the Induction of TTS. may be imperfect. 
Elze suspects that Shakespeare originally wrote a conclusion 
for the Induction, but that this has been lost through the neg- 
ligence of ignorant and careless copyists. 

The part of Sly would call for an excellent actor, and it might 
be necessary to restore this actor to the stage. If a part of the 
continuation of the Induction were once omitted, on the ground 
of this stage necessity, the play might then be preserved and 
handed down in an imperfect form. 

Hudson thinks that we have all of the Induction that there 
ever was and all that we were ever intended to have. He says : 

" I am convinced that in this as in other things the Poet was 
wiser than his critics. For the purpose of the Induction was 
but to start an interest in the play ; and he probably knew that 
such interest, once started, would be rather hindered than 
furthered by any coming-in of other matter ; that there would 
be no time to think of Sly amidst such a whirlwind of oddities 
and whimsicalities as he was going to raise. But the regret in 
question well approves the goodness of the thing; for, the better 
the thing, the more apt men are to think that they have not 
enough until they have too much." 28 

We cannot suppose that the actor who took the part of Sly 

27 TTS., I. i., 1. 254. FREY'S Introd. p. 10. 

28 ' Harvard Shakes.,' vol. ii. 



2 S ALBERT H. TO L MAN. 

was left free to continue his role with impromptu absurdities. 
We certainly have Shakespeare's own views in Hamlet's 
directions to the players : " And let those that play your clowns 
speak no more than is set down for them." ^ 

It is a remarkable fact, for which I do not know how to 
account, that the brief continuations of the Induction which are 
scattered through TAS. are worthy of Shakespeare himself. 
Especially good are Sly's ideas of stage propriety, which closely 
resemble those of Bottom the Weaver, and which Sly demands 
to have respected on his authority as a Lord. The Duke of 
Cestus wishes to have Phylotus and Valeria sent to prison for 
their deception. Sly breaks in : 

" I say wele have no sending to prison. 

Lord. — My Lord this is but the play, they're but in jest. 

Sly. — I tell thee Sim wele have no sending to prison, that's 
flat : why Sim am not I Don Christo Vary ? [Sly's name is 
Christopher.] Therefore I say they shall not go to prison. 

Lord. No more they shall not my Lord, they be run away. 

Sly. Are they run away, Sim ? that's well. Then gis some 
more drinke, and let them play again." 

Lord. Here my Lord." 

{Sly drinks and then falls asleepe?) 3° 



I now take up the two main plays. I call attention to the fol- 
lowing points in which the general superiority of TTS. makes it 
very unlikely that TAS. is directly derived from it : 

i. In TAS. there is an artificial symmetry in the grouping of 
the characters. There are three daughters and three suitors, 
and the wooing is free from rivalry. The arrangement in TTS. 
is freer and more vital. 

2. The very point of the play is blunted in TAS. by repre- 
senting Kate as already tired of her own shrewishness, and 
already partially cured. Kate says, when Ferando first woos 
her: 

" But yet I will consent and marrie him, 
For I methinks haue liude too long a maid." 

TAS. ' Bankside Sh., ii., 348-9. 

Polidor says, immediately after the marriage of Ferando with 
Kate: 



29 Ham., III. ii. 4zf. 

30 TAS., Ed. of Shakes. Soc. p. 42. 



TAMING OF THE SHREW. 29 

" And yet it may he she will he reclaimde, 
For she is very patient grone of late." 

TAS., ' Bankside S.,' 11., 808-9. 

3. The love-making scene between Ferandoand Kate (TAS.) 
is comparatively bare and inadequate. Petruchio's shrewd 
declaration at the end of the corresponding scene that Kate loves 
him madly but is not to acknowledge this in company, — is pecu- 
liar to TTS. 

4. Ferando boasts to Katharine of the expected success of his 
treatment while she is still untamed, and boasts of his victory as 
soon as she yields. 

5. Petruchio pretends that he does everything for the good of 
Katharine. In spite of its apparent absurdity, this claim is true. 
This is a fine feature. 

Those who look upon TTS. as a pure farce will consider this 
point over-subtle. Says a German writer, " Von einem wirk- 
lichen Respekt vor dem Weiblichen kann hier [in TTS.] gar 
keine Rede sein."3 x 

6. In TTS., the final yielding of Katharine is carefully miti- 
gated. She consents to call the sun the moon, at the interces- 
sion of Hortensio, and gives as her ground, " since we have come 
so far." 

7. Hortensio becomes a musician is order to woo Bianca. 
Valeria, on the other hand, has only an over-subtle plan to keep 
the shrew away from her sisters by instructing her in music, and 
thus to give these ladies an opportunity to receive their lovers. 

8. Valeria's double change of role in TAS. is confusing. 

9. The description of the attire of Petruchio and Gremio as 
they come to the wedding has but a brief counterpart in TAS. 

10. The description of the wedding comes only in TTS. 

11. Petruchio's causeless scolding of the tailor, an effective 
object lession to Kate, is almost entirely lacking in TAS. 

12. Katharine's characteristic tormenting of Bianca is peculiar 
to TTS. 

13. Gremio's humorous description of the homeward journey 
of Petruchio and Katharine has no counterpart in TAS. 

14. The wager at the end of the play comes in naturally in 
TTS ; in TAS. it has no apparent occasion. 

In the above mentioned points of difference between the two 



31 Gosche. Jahrb. der d. Sh. Ges., xxi., p. 4. 



3 o ALBERT H. TO L MAN. 

plays, TTS. seems to be the superior. These points make it 
more probable, I think, that TAS. is based upon TTS., than 
that the reverse is true. In one respect, however, TAS. seems 
to me superior to the companion play. 

15. Petruchio's mercenary and emphatic choice of Katharine 
before seeing- her, is unpleasant. Ferando, on the contrary, lives 
in Athens (the scene of TAS.), knows Katharine, has marked 
her worth, has determined to woo her, and has already obtained 
her father's consent. His friend Polidor, too. selects him as 
Katharine's proper suitor. 

Perhaps it is partly this unfortunate feature of TTS. which 
causes Mr. Furnivall to speak of the play as a farce, and 
which leads Mr. Ellis to say flatly, — " This play is an outra- 
rageous farce, and that must be fully borne in mind." 3 2 This 
term I cannot accept. The subject naturally tempted to a farci- 
cal treatment ; and the unfortunate light in which we first see 
Petruchio makes us unprepared for the genuine and wise affec- 
tion which he afterward displays. Judging him by the stand- 
ards of Shakespeare's age — standards which still have their 
advocates — , and judging him by the requirements which Kath- 
arine's character puts upon him, — Petruchio's conduct, broadly 
speaking, is noble and thoroughly wise. This wise love, finally, 
in one victory, saves him from the shrew and the shrew from 
herself. This salvation of the nobler Katharine is the central 
action of the play ; and such a play is no farce. I know that 
this opinion will be challenged by many, and it may need some 
modification. Perhaps the final judgment will not vary much 
from that expressed in the following careful words of Professor 
Dowden : 

" The Katharine and Petruchio scenes border upon the farci- 
cal, but Shakspere's interest in the characters of the Shrew and 
her tamer keep these scenes from passing into downright 
farce." ^ 

The non-appearance of " my cousin Ferdinand " is a noticea- 
ble oversight in TTS. (IV. i., 154.) 

H. A second ground for believing that TTS. goes back 
directly to TAS. is the presence in TTS. of some words and 
phrases that can well have been suggested by the other play. 



yiTrans. New Shaks. Soc, 1S74, pp. no and 119. 
33 ' Shak. Primer,' p. 102. 



TAMING OF THE SHREW. 31 

These passages, however, do not seem to me to prove that the 
writer of them had TAS. in his mind. 

1. The line, « 

" Why came I thither but to that intent ?" 

ITS.. 1. ii., 199, 

does not fit Petruchio well ; but it is perfectly appropriate in the 
mouth of Ferando. Compare, in TAS., 1. 288, " Faith I am 
euen now agoing." 

2. The line, 

" I love her ten times more than e'er 1 did." 

TTS., II. i , 162, 

is perhaps jokingly uttered. It cannot belong to Petruchio 
except in joke ; he has never seen Katharine, and has heard 
only evil of her. It can fairly be said in this case as in the pre- 
ceding one, that the situation of TAS. seems to be present, more 
or less clearly, in the mind of the author. 

3. There is another phrase in TTS. which seems to be a remi- 
niscence of TAS. " In the Folio we read (Ind., 1. 15) : 

" I'll not budge an inch, boy." 

This, as it now stands, does not make very good sense [Sly is 
addressing the Hostess], but our author probably overlooked the 
fact that he had changed the sex of the inn-keeper, and, having 
his [?] older version before him, he unconsciously wrote a line 
which, although it would be appropriate enough for T he Taming 
of a Shrew, is out- of place in its successor." 34 

Sly's drunkenness gives to the word " boy " in the above pas- 
sage a certain blundering fitness ; but Mr. Frey's explanation is, 
perhaps, the natural one. 

The phrase, " Go by Jeronimy," of the Globe text (Ind., TTS., 
1. 9,) need not be considered. We have an unquestionable allu- 
sion to a line in Act iv. of Thomas Kyd's play, The Spa?u's/i 
Tragedy \ — " Hieronimo beware, go by, go by."' The Folio text 
shows us, however, in the Ind. of TTS., " go by S. Jeronimie." It 
is entirely possible that Sly turns the borrowed phrase into a 
blundering oath, and not that he uses a man's name in address- 
ing the Hostess. This is the Sly. who answers the information 
that he is to see " a pleasant comedy," by asking, " Is not a 
comonty a Christmas gambold or a tumling trick ? " 35 



34 Frey, ' Bankside S.,' Vol. ii. Introd., p. 10. 

35 Ind., TTS., 1. 140. 



32 



ALBERT H. TOLMAN. 



I have now given my reasons for thinking - that TTS. goes 
back to TAS., if either of the two plays is based upon the other. 
Only the three passages cited under B, however, have any force 
against the theory of Professor ten Brink. In case TTS. is 
directly derived from TAS., the probable relation of the three 
plays, The Supposes, TAS. and TTS., to one another, can be 
indicated by the following table : 

The Supposes. 




A young gentle- 
man disguises him- 
self in order to sue 
for a lady, the her- 
oine, while his ser- 
vant takes the mas- 
ter's role. A false 
father gives assur- 
ance of a marriage 
portion. The real 
father appears. 



An old and wealthy suitor is a rival for 
the hand of the heroine. Her father desires 
a large dowry for her. The servant who 
takes his master's role urges a pretended 
suit for the hand of his master's lady-love. 
Deception is used to induce an old man to 
play the role of father. Sharp encounter be- 
tween the true father and the false one. 




The Taming of the Shrew. 



During most of 
the play there is 
a third veritable 
suitor for the hand 
of the heroine of 
the underplot. 



After IV. ii., in TTS., when Hortensio gives up Bianca and 
becomes the accepted lover of the widow, three lovers and their 
three ladies are present, as in TAS. 

7. The Theory of Professor ten Brinks 6 

That neither one of the two plays TAS. and TTS., is the 



36 Professor ten Brink helped me most kindly in the preparation of this Dis- 
sertation, but he was equally careful to leave me free to form my own opinions. 
Thirteen months after the Dissertation had been presented for the degree of Ph. 
D., and eight months after it had been read before the Modern Language 
Association of America, I came upon the published opinion of Professor 
ten Brink which is here cited. Although my honored teacher had asked 
me to consider the possibility that TAS. and TTS. might go back to a common 
source, I must confess that I did not appreciate the real force of his suggestion 
until I saw it in printed form. In making a final revision of this paper, I have 
been unable to give to Professor ten Brink's hypothesis the careful attention 
which it deserves, I have therefore sought rather to state his theory than to dis- 
cuss it. 



TAMING OF THE SHREW. 

source of the other had not been suggested, I think, until some- 
thing over ten years ago. Yet great difficulties are left unsolved 
by either of the two familiar theories. I have already stated 
why I am inclined, as between the old alternatives, to make 
TAS. the source of TTS. If the theory for which I have thus 
provisionally contended be granted me, what are the difficulties 
which I have invited? Some of them maybe stated as follows: 
i. The circumstances attending Petruchio's decision to woo 
Katharine are unfortunately changed from those present in the 
case of Ferando. (See p. 30.) Some critics, however, would 
not object to this change. 

2. It is just the most successful and the most intensely 
Shakespearian parts of TTS. which borrow most freely from 
T¥S. ; and this borrowing concerns not only the plot but also 
the very language. The gravity of this consideration is appar- 
ent. 

3. The phrases and lines in TAS. and TTS. between which a 
close verbal agreement exists are often very unimportant. We 
often wonder why Shakespeare adhered to the language of 
TAS. in these cases. It is hardly strange that Mr. Frey makes 
Shakespeare to be the author of TAS. also ; yet I cannot my- 
self accept that view, for reasons which will be given later. In 
no other case, I think, has Shakespeare borrowed thus freely 
from the language of any play in the authorship of which he is 
generally considered to have had no part. 

If we suppose TAS. to have been stolen from an early play of 
Shakespeare, and that this early play became, after revision 
TTS., — we have, indeed, a bold hypothesis ; but it is one which 
meets our difficulties in a remarkable manner. 

4. The theory that TAS. is a stolen piece would explain why 
so fine a comedy was published anonymously. Swinburne has 
lavished praise upon TAS. (See p. 50.) This supposition would 
also explain the remarkable frequency with which the manner 
and the very language of Marlowe are employed by the gifted 
writer of TAS. (See p. 44.) Since he was stealing from 
Shakespeare, why should he not also steal from Marlowe ? 

Professor Bernhard ten Brink was the first scholar to offer 
a tertium quid as a solution for the difficulties besetting this 
question of the true relation of TAS. and TTS. to each other. 
His theory has been already suggested. It is, in brief, as fol- 
lows : — At some time before the composition of Midsummer 



34 ALBERT H. TOLMAN. 

Nighfs Dream, Shakespeare had written a youthful play 
which afterwards became the source both of TAS. and of the 
Folio play, TTS. After citing Professor ten Brink's own 
words, I will leave this difficult question with my readers : 

" Die Art, wie ich Taming of Uie Shrew beilaufig erwahne, 
macht eine Verstandigung in Betreff der Taming of a Shrew 
nothwendig. Letzteres Stuck halte ich weder f iir ein Jugend- 
werk Shakespeares noch f iir das Original, welches dieser 
benutzt hat, noch endlich f iir eine Bearbeitung der Shakespeare'- 
schen Kombdie, die uns in der Folio iiberliefert ist. Meiner 
Ansicht nach beruhen Taming of a Shrew und das beinah 
gleichnamige Stuck der Folio auf einer gemeinsamen Quelle ; 
diese Quelle aber war eine Jugendarbeit Shakespeares, die sich 
von der sp'atern Fassung namentlich auch dadurch unterschied, 
dass das aus den Supposes entlehnte Motiv ihrer einfachern 
Intrigue noch abging. Fur eine Begriindung dieser Hypothese 
ist hier kein Raum. Einstweilen moge es ihr zur Empfehlung 
gereichen, dass sie zwischen den altern Ansichten vermittelt, 
diese gewisserwassen in sich vereinigt und den Bedenken, 
welche gegen jede derselben geltend gemacht worden sind, nicht 
unterliegt." 37 

b. Less Important Works that may be Direct Sources 

of TTS. 

I believe that the old ballad entitled A merry Ieste of a 
shrewde and cur sie Wyfe lapped in Morrelles Skin, for her good 
behauyour was known to Shakespeare, although it furnished 
him with nothing of consequence that was not already in TAS. 
The story of the ballad runs as follows : 

A father has two daughters. The elder of them is " curst," 
the younger is gentle. The father has himself suffered much 
from the ill-tempered mother, and he is very unwilling to give 
the shrewish elder daughter in marriage to a worthy young man 
who becomes a suitor for her hand. The young man is persist- 
ent, and the wedding takes place, though the lady warns him 
that she cannot refrain from sometimes being the master. The 
young man is so tried by his wife that he finally whips her until 
she bleeds, and then wraps her in the well-salted hide of his old 
horse Morel, that has been killed for the purpose. At last, 
overcome with pain, the shrew promises amendment. The hus- 
band soon invites in the father and mother and many neighbors 
as guests, that they may observe his wife's patience. 



yjjahrb. der d. Shakespeare- Gesellscha ft. Bd. xiii. "Ueber den Sommer- 
nachtstraum." EinVortrag. Von Bernhard ten Brink. Vorbemerkung S. 94. 



TAMISC OF THE SHREW. 



35 



This ballad "came from the press of Hugh Jackson about 
1550 or 1560," and is known to have been popular. 5711 The lan- 
guage of TTS. in one place seems to me to have been suggested 
by the following stanza, which is appended to the close of the 
ballad : 

" He that can charme a shrewde wyfe 
Better then thus, 
Let him come to me, and fetch ten pound, 
And a golden purse." 

44 He that knows better how to tame a shrew, 
Now let him speak : 'tis charity to show." 

TTS. IV. i. 223-4. 

The language with which Lucentio makes love to Bianca 
while pretending to instruct her (TTS. III. i.) bears some resem- 
blance to a passage in a " morality play " printed in 1590, — The 
Three Lords and Three Ladies of London. Simplicity , one of 
the characters, has been grossly deceived by Fraud. Fraud is 
detected, and punishment is pronounced as follows : 

Pleasure [addressing Simplicity.'] 

That his punishment may please thee the better, thou shalt 
punish him thyself: he shall be bound fast to yon post, and thou 
shalt be blindfold, and with thy torch shalt run, as it were, at 
tilt, charging thy light against his lips, and so (if thou canst) burn 
out his tongue, that it never speak more guile. 

Simplicity. 

0,singulariter nomi?ialivo, wise Lord Pleasure: genitivo, bind 
him to that post ; daiivo, give me my torch : accusativo, for I say 
he's a cosener : vocativo, O, give me room to run at him : ablativo, 
take and blind me. Pluraliter per o?n?ies casus, 

Laugh all you to see me, in my choler adust, 
To burn and to broil that false Fraud to dust." 38 

Mr. Frey thinks that the passage beginning, " ' Young bud- 
ding virgin, fair and fresh and sweet' ' (TTS. IV. v. 37), "is 
perhaps taken from the fourth book of Ovid's Meta?norphoses y 
which had been translated into English by Arthur Golding, 
as early as 1565." 39 

37a Collier's ' Shakespeare Library.' Hazlitt, Part L, Vol. iv. 

38 Dodsley's ' Collection of Old Eng. Plays.' Hazlitt, Vol. vi. 

39 ' Bankside S.,' ii. p. 35. 







6 ALBERT H. TOLMAN. 



B. Remoter Sources of TTS. 

a. Of the Induction. 

A German scholar has carefully traced the story of the Induc- 
tion from its earliest known form down to our own century. 4° 
He considers that the Induction of TAS. was unquestionably the 
direct source of TTS. (p. 14.) 

Marco Polo, who probably finished writing his account of 
his travels in 1298, gives us the first form of the story. It runs 
as follows: 

Alaodin, the prince of the Assassins, the " old man of the 
mountains," drugs by means of a powerful draught those young- 
men whom he wishes to win over to his service. These victims 
have been previously instructed by his accomplices in the Mo- 
hammedan doctrine of the joys of Paradise. The young men 
are brought in an unconscious state into a garden which offers 
them, when they awake, all the pleasures of which they have 
been told. Soon another draught is given them and they awake 
in their original condition. Their customary life now seems insup- 
portable, and they gladly join the Assassins on receiving the 
promise that the joys which they have seen shall always be 
theirs. 

A historical kernel is believed to be in this story. Rocneddin 
is said to be the true name of the one called here Alaodin ; the 
Assassins flourished in the thirteenth century; and the drink was 
the well-known hasheesh.^ 

In the Arabian Nights we find the story of Abou Hassan (or 
Abu-1- Hasan) who confided to a supposed stranger his desire to 
be the Caliph for a single day. The stranger was Haroun 
Alraschid himself. Abou Hassan was put to sleep by means of 
a potion, was taken to the Caliph's palace and dressed in fine 
clothes, and was treated as Caliph for an entire day. In the 
evening he was again put to sleep, and awoke in his proper con- 
dition. Alraschid meets him a second time and the entire 
experience is repeated, just as before. At last the Caliph 
explains all to the bewildered Abou. 

Mr. Edward W. Lane tells us that this story is' not in the 
usual copies of ' The Thousand and One Nights,' and " that its 
chief and best portion is an historical anecdote, related as a 
fact." 42 Mr. Lane says further: 



40 A. von WfilLEN. ' Shakespeares Vorspiel zu der Widerspenstigen Zah- 
mung.' Frankfurt a./M., 1884. 

41 von Wf.i i.k.n, p. 2. 42' 1001 Nights.' London, 1840. Vol. ii, p. 376. 



TAMING OF THE SHREW. 



37 



"The author by whom I have found the chief portion of this 
tale related as an historical anecdote is El-Is-hSkee, who finished 
his history .... apparently in the year 1623. He does not 
mention his authority ; and whether it is related by an older 
historian, I do not know." 

The first European version of this story professes to be 
an account of something" which actually took place at the court 
of Philip the Good (1419-1467), Duke of Burgundy and ruler 
of Flanders. It has been conjectured that the story preserved 
to us in the ' Arabian Nights ' had been narrated to Philip by 
some ambassadors from the East who are known to have visited 
his court. 

Ludovico Vives, in his 'Letters' (printed in Latin, 1556) 
tells us at greater length than is here permissible to note, the 
following story, which he says that he learned from a courtier 
who was an eye-witness of the occurrence : 

Philip, while walking about Brussels with some of his followers, 
came upon a man buried in a drunken sleep. The Duke caused 
the fellow to be carried to the palace, and put into his own bed. 
When the drunkard awoke, the attendants offered him every 
form of service. He was clad in princely robes, was taken to 
chapel, and then to breakfast. Afterwards he was amused with 
all kinds of diversions, including cards, hunting, hawking, 
and music and dancing. He was also treated to dramatic repre- 
sentations [exhibitae sunt fabulae]. Frequent draughts of wine 
at length took away his consciousness. He was dressed in his 
own clothes, and placed where he had been found. On waking 
he was much bewildered ; but decided, at last, that his experi- 
ence was only a dream. 

Warton, in his ' History of English Poetry,' tells us that a 
collection of stories by Richard Edwards, dated 1570, con- 
tained the incidents of the Induction. This book has disappeared. 
The form of the story discovered by Mr. H. G. Norton in 
1845, in an undated fragment of a book, and printed by the 
Shakespeare Society, does not correspond with the Inductions 
of TAS. and TTS. as well as does the earlier version of Vives. 

The next versions of this story do not especially concern us 
until we come to TAS. and TTS. These later versions make 
prominent the fact that a drama was employed to amuse the 
deluded drunkard. Goulart says : " Then they played a 
pleasant comedie."*3 

43 ' Admirable and Memorable Histories.' 1607. Translated from original 
French edition of the same year. 



3 g ALBERT H. TOLMA.Y. 

The deception practiced upon Sly by means of a page who is 
dressed up for the role and pretends to be his lady, is a stroke 
of humor wholly new, so far as I know, to TAS. and TTS. 

b. Remoter Sources of the Bianca Intrigue. 

I have found no source forthe Bianca intrigue back of Arios- 
To's play, Gli Suppositi, of which The Supposes is a translation, 

c. Remoter Sources of the Taming Process, the Taming of 

the Shrew Proper. 

No direct source for the taming of the shrew proper, the 
Ferando-Kate comedy of TAS., has been found ; though almost 
every part of that story appears in essence in some form older 
than TAS. and TTS, Nowhere, however, do we encounter any 
suggestion of that fine feature of TTS. r Petruchio's half-pre- 
tended and yet real kindness towards Kate and solicitude for 
her. The one source of this element seems to be Shakes- 
peare. 

Few subjects were more common to the popular thought dur- 
ing the Middle Ages, few recur more constantly in story and in 
song, than that of the supremacy of the husband over the wife. 
The shrewish wife is a figure that is everywhere met. The ques- 
tion of how best to tame a shrew, the dire consequences to the 
husband if a shrew should succeed in ruling him, — these ideas 
were the property of all minds. The reader of Chaucer will 
remember the " Wife of Bath," chuckling as she tells how each 
of her successive husbands was made to serve her will ; also the 
"Merchant's Wife," "the worste that may be." Furnivall 
cites the bequest in the old Wyll of the Deuyll, — " Item, I geue 
to all women souereygn tee, which they most desyre." 44 Any 
higher idea of married life than the wise ruling of a good woman 
by a good man perhaps never dawned upon the mediaeval mind. 

The half morality, half comedy, Tom Tiler and his Wife y 
gives an amusing account of an attempt to tame a shrew. This 
play was printed in 1598. A second edition, in 1661, claims to 
give it " as it was printed and acted about a hundred years ago.' 7 
Frev says, " This play was acted by children as early as 
1569." 45 

Tom Tiler laments his hard fate in being ruled by a shrew. 
44 ' Leopold Shakspere.' 45 ' Bankside S. ii. p. 34.' 



TJ.1//.YG OF THE SHREW, 39 

Strife, the wife of poor Tom, sitting to drink and chat with her 
neighbors, Sturdie and Tipple, wishes that her husband were 
present. " Ye should see how I could tame him." Tom Tiler 
appears, and is soundly drubbed by Strife for leaving his work. 
Tom Tailer, coming in, learns from Tiler what has happened. 
He induces Tiler to change clothes with him. Strife (-onus in 
and gives her supposed husband a blow, but she is beaten until 
she is sore. Tipple and Sturdie have witnessed the beating of 
Strife. Tipple says of Tiler, " Belike he hath learned in a new 
school." -* 6 Tiler, learning the good news, goes home, and 
finds his wife for once humble and gentle. The simpleton 
informs her of the trick. She then beats him in double measure. 
Patience comes in and patches up a hollow peace, and the play 
closes. 

The many comedies of the age of Elizabeth and James which 
deal with the general topic of shrewish and unmanageable wives 
show the enduring popularity of the theme ; and a number of 
more modern plays have been either adopted from TTS. or 
suggested by it. 4<Sa 

In Germany, Hans Sachs preceded Shakkspkark in making 
dramatic use of this subject. In a Fastnachispiel of Sachs, a 
husband suffering from a shrewish wife comes to King Solomon 
for advice. He receives the brief reply : " In verbis, herbis, et 
lapidibus est magna virtus." The husband first tries to mollify 
his wife with gentle words, then with flowers. When these fail, 
he gathers stones, and pelts her until she promises amendment. 47 

A German play entitled Kunst uber alle Kuiistc \ Bin bos 
Weib gut su machen was printed in 1672. It is an imitation of 
TTS, and is "the earliest impression of a German version of an 
entire Shakespearian piece." « 8 The Induction, however, is 
wanting. The rocking of the shrew in a cradle and the brush- 
ing of the soles of her feet, were features in a later German 
play, Die b'osc Catharine w 

Reinhold Kohler, in Vol. iii. of the Jah> buck der deutschen 
Shakespeare-Gesellschaft, gives a German translation of a 
folk-tale, written down in Jutland, which he met in SVEND 



46 Cf. TTS., IV. ii. 54, and TAS , 1, 1902. 

46a For the names of some of these later plays, as well as for other information, 
see TALCOTT WILLIAMS'S " Bibliography of TTS.," S/iakespeariana, v. 44; 
and 497. 

47 See Kunst fiber alle Kiinste, edited by REINHOLD KSHLER. Berlin. 
1864. p. xlii. 

48 Cohn's ' Shakespeare in Germany,' London. 1865. p. exxiv. 
49KoHLKR's K. fiber alle A". y p. xiii f. 



4 o A L BER T H. TOL MA N. 

Grundtvig's collection of Danish folk-tales.s° This tale comes 
the nearest of anything- that has been found to the story of the 
taming in TAS. and TTS. I give the tale in a condensed form: 

A man and woman had three daughters, Karen, Maren and 
and Mette. They were all beautiful, but all shrewish ; and 
Mette was the worst of the three. Karen and Maren were soon 
married, but not Mette. Finally a suitor for Mette's hand came 
from a distance. He promised to meet her at the church at a 
definite hour for the performance of the marriage ceremony. 
He was not on hand at the appointed time ; but at last he 
appeared, riding on an old gray horse, carrying a rifle, wearing 
a pair of woolen gloves, and followed by a large dog. Immedi- 
ately after the wedding, in spite of urgent protests from the 
father, the pair set out for the groom's house. Soon the hus- 
band commands his dog three times to pick up the glove which 
he has let drop, but in vain. He shoots the dog on the spot. 
The pair rest in the wood on the way home ; after this the horse 
is three times commanded to come to his master and is then shot 
for disobedience. The husband next takes a green twig, bends 
the ends together, and gives it to his wife with the words, " Keep 
this, until I ask it from you." They then walk to their new 
home. 

After many years, during which the wife was always kind and 
obedient, the husband proposed that they make a visit to her 
parents. On the way they meet some storks ; the man calls 
them ravens. When the wife tries to correct him in this, he 
returns with her to their own home. Again the visit is attempted, 
and again it is postponed, because she will not join with him in 
saying that some sheep and lambs are wolves. On the third 
trial, Mette consents to call some hens crows, and they reach 
the home of her parents. They find Karen, Maren, and their 
husbands also there. While the mother talks with the daugh- 
ters, the father fills a pitcher with gold and silver coins, and 
promises to give it to the man who shall prove to have the 
most obedient wife. The husband of Karen asks her to come 
and join them, but he calls in vain. Maren is equally disobe- 
dient. Mette comes at once when called. Her husband now 
asks for the twig which he gave her in the wood. Taking it, he 
turns to the other men and says, " I bent this twig when it was 
green. You should have done the same." 

We shall meet this killing of pets or domestic animals in order 
to frighten a wife into obedience in other stories older than 
Shakespeare. Kohler cites also an old French fabliau, in 
which a Count, on the journey home with his young wife, kills 
his two greyhounds and then his horse. Kohler believes that 



50 Reprinted in Simrock's 'Die Quellen des Sh.,' 2 te Aufl. 1872. 



TAMING OF THE SHREW, a\ 

the Danish folk talc is olderthan TAS.and TTS., and that other 
versions of this story have existed, out of which the Danish tale 
and the English comedies were both alike derived. 

The conjecture that an Italian source- lies back of TTS. proba- 
bly sprang from the discovery of a similar story by the Italian 
writer STRAPAROLA, and from the Italian features and names in 
the play. These Italian features go hack to The Supposes, a 
translation from the Italian. STRAPAROLA was still living in 
in J553- ' Les Facetienses Nnits ' is the name of the French 
translation of the work which contains, in the second volume, 
the story that interests us. This volume was first printed in 
French in 1573. I give the story in outline : 

Pisardo and Silverio were bosom friends. Silverio, the 
younger, married the beautiful but shrewish Spinella. and weakly 
yielded to her in all things. Pisardo afterwards married Fio- 
rella, the younger sister of Spinella. When Pisardo first brought 
Fiorella to his home, he took two cudgels and a pair of breeches. 
and demanded of her that she should fight with him for the pos- 
session of the breeches. She refused to fight and promised to 
be obedient. He then showed her his horses, and killed before 
her eyes one which refused to obey him. Fiorella proved e\ er 
kind and dutiful. Silverio asked Pisardo ''to what school " he 
had sent his wife, (see note 46) and learned what had been 
done. Silverio then sought to do exactly the same with Spin- 
ella ; but she ridiculed him and became more unmanageable 
than ever.5 r 

I will summarize some other stories of this sort which seem to 
me to be of interest. Two of these are found in vol. iii. of the 
work by Simrock that has just been cited. s 2 The first of these 
is the ' Story of the Cat,' from Kisseh Khun, the Persian story- 
teller. 

Sadik Beg, immediately after his marriage, cuts off the head 
of his wife's pet cat, and throws the head and body out of the 
window. His wife is always obedient. A friend of his acts in 
the same way ; but he gets a box on the ear, and is told that he 
ought to have killed the cat on his wedding da v. 

In the old German poem of the "Anger-mole " (Zornbraten), 
are found some points of the shrew-story of TAS. and TTS : 

51 Simrock and others. 'Die Quellen des Shakespeare.' Berlin, 1831, Vol. i. 
52 They are also in HALLIWEL'S translation, — Remarks of KARL Simrock on 
"Plots of Shakespeare's Plays. " S/takespcare Sac. 1850. 



42 ALBERT H. TOLMAN. 

A knight had an evil wife and an evil daughter. At last a 
young knight sought the daughter in marriage. The father 
concealed none of her bad qualities, but the marriage was sol- 
emnized. The mother urged the daughter to follow her own 
example. The young pair rode to the groom's house along 
unfrequented roads. On the way, the husband killed succes- 
sively his hawk, his hound, and his horse, because they refused 
to obey him. He then saddled and bridled his wife, and made 
her carry him fully half a mile. She then promised to obey 
through her whole life, and was ever afterward kindly treated. 
The father begged the son-in-law to help him in taming the 
mother. The young man explained to his mother-in-law that 
she had two anger-moles (Zorn-braten) on her loins, and that, 
when these were cut out, she would be a good wife. The cut- 
ting out of only one of them worked a complete cure. 

Douce thought that he had found the source of the taming 
part of TTS. in a Spanish collection of stories, ' El Conde Luc*a- 
nor.' The author lived in the fourteenth century ; the first edi- 
tion of his work appeared in 1575, but the second, the one used 
by Douce, in 1642. The story may be condensed as follows : 

Don Alvar Fannez took into his family a nephew, a spirited 
young nobleman. The nephew complained one day that the 
uncle gave too much power into the hands of his wife. On the 
morrow the three ride to Don Alvar's country-seat. On the 
way, they see a herd of cows grazing. Don Alvar speaks of 
them as mares. The nephew, in astonishment, contradicts him. 
The dispute is at last left for settlement to the wife. She decides 
at once that her husband is right. They next come to some 
mares, which Don Alvar calls cows ; and then to a brook flowing 
toward the right, which Don Alvar claims to be flowing toward 
the left. When they reach their journey's end, Don Alvar 
asserts that it is midnight, and that the moon is in the sky ; it is 
really midday, with the sun shining. In each of these cases a 
dispute arises, which the wife instantly decides in favor of her 
husband. Don Alvar, when he is alone again with the nephew, 
admits that his own assertions have been false ; and then asks, 
" Have I not good reason to put absolute trust in my wife?"53 

Simrock finds that some copies of ' El Conde Lucanor ' lack 
the dispute concerning the sun and the hour of the day, and he 
thinks that this feature has been taken from TTS. into the fuller 
version of the Spanish story. 

Another story in ' El Conde Lucanor ' has been thought by 
some to be the one referred to by Douce. I give it in brief: 

The only daughter of a rich Moor was a Shrew. The son of 



53 Simrock, ' Die Quellen des Sh.' 2 te Aufl. Bonn. 1872. 



TAMING OF THE SHREW. 43 

a poorer neighbor decided to better his fortune by marrying 
her. The father tried to dissuade him, hut the marriage took 
place. When the young couple- were left alone, the husband 
commanded his hunting dog to bring him water for washing his 
hands. The command was repeated, lie then chased the 
hound about the room with his sword drawn, killed it, and 
hacked it to pieces. Next a lap dog received the same absurd 
command, and died in the same way. Then the young hus- 
band's only horse was killed. In a transport of rage, the groom 
turned at last to the bride and commanded her to bring him the 
water. She hastened to do it, and was kept busy waiting upon 
him during the entire night. Finally the husband commanded 
her to get breakfast, and to allow no one to disturb him. Tin- 
next morning the parents and relatives feared they might find 
the young man wounded or dead. They were rejoiced to learn 
how the night had been past. Afterwards the father-in-law tried 
to imitate the young man; but his wife informed him that it was 
too late, as- they already knew each other. 

d. Remoter Sources of the Wager Episode. 

The wager at the close of TAS. and TTS. forms a distinct 
episode. The prize offered by the father in the Danish folk-tale 
above cited (see p. 40) to that one of his three sons-in-law who 
should prove to have the most obedient wife, is much like what 
takes place in the two English comedies. Another interesting 
parallel to this wager scene has been pointed out to me by Pro- 
fessor ten Brink. 

T he Book of the Knight of La Tour- Landry, a popular work 
written in French in 1371-72, was published in an English trans- 
lation by Caxton in 1484. The author, Gkoffroy DE LA 
Tour-Landry, under the pretext of instructing his own daugh- 
ters, writes " a treatise on the domestic education of woman." 
Among the many anecdotes which he collects, is the following : 

Three merchants, riding home from a fair, fell to talking about 
the charm of obedience in a wife. At last they laid a wager of 
a dinner, agreeing that the one whose wife should prove the 
least obedient should pay for the dinner. Each man was to warn 
his wife to do whatever he might bid ; afterward he was to set a 
basin before her and bid her leap into it. The first wife insisted 
on knowing the reason for the command ; she received several 
blows from her husband's fist. The second wife flatly refused 
to obey ; she was thoroughly beaten with a staff. The wife of 
the third merchant received the same warning as the rest, but 
the intended trial was postponed until after dinner. During the 
meal this wife was asked to put salt upon the table. Because of 



44 ALBERT H. TOLMAN. 

a similarity between the two expressions in French, she under- 
stood her husband to command her to leap upon the table. 
She at once did so, throwing down the meat and drink and 
breaking the glasses. When she stated the reason for her con- 
duct, the other merchants acknowledged without further trial 
that they had lost the wager.54 

II. THE AUTHORSHIP OF TAS. 

The question of the authorship of TAS. is interesting and 
important, not only because of the connection of the play with 
TTS., and because of the opinion of some critics that Shake- 
speare himself wrote all or a part of it, — but also because of 
the excellence of TAS. in itself considered. 

TAS. was published anonymously in 1^94. There are in it. 
it seems to me, at least two distinct styles. One of these is ele- 
vated and stately. The passages which show it are filled with 
classical allusions, but are often really beautiful. These parts of 
the play have been found to contain many lines taken almost 
word for word from Marlowe. The second style found in this 
play is simple and natural, becoming familiar when the comedy 
demands it. An anonymous American correspondent of 
Charles Knight was the first person to point out the fact that 
TAS. " abounds in passages that either strongly resemble or 
directly correspond with passages in the undoubted plays of 
Marlowe." 55 Faustus and Tamburlaine are the only dramas 
of Marlowe that show passages of this kind. The American 
scholar seeks to show that Marlowe wrote TAS. I cite first 
the passages in which the verbal agreements between TAS. and 
Marlowe are most striking and complete. I have made an 
independent comparison of the two, but I have found few agree- 
ments not already noted by Mr. Knight's anonymous corre- 
spond ent.s 6 

" Now that the gloomy shadow of the night, 
Longing to view Orions drisling lookes, 
Leapes from th' antarticke world unto the skie, 
And dims the welkin with her pitchie breath," 

TAS. p. 161, S. S. ed. p. 1. 



54 Wright's Ed. Early Eng. Text Sac., p. 26. 

55DYCE's 'Marlowe.' 1859. Introtl. li. See KNIGHT'S 'Library Ed. of 
Shakspere.' 1842. Vol. ii., p. 114 ff. 

56 When not otherwise indicated, the citations from MARLOWE are from 
DYCE's ed. of 1859; those from TAS. from 'Six Old Plays,' London, 1779, and 
from the Shakespeare 's Society' 1 s ed., 1844. 



TAMING OF THE SHREW. 45 

" Now that the gloomy shadow of the earth, [night, in Qu.of 1616) 
Longing to view Orion's drizzling look, 
Leaps from th' antartic world unto the sky, 
And dims the welkin with her pitchy breath," 

Faustus. Qus. of 1604 and 1616, pp. 82 and no. 57 

" But staie, what dames are these so bright of hew 
Whose eies are brighter than the lampes of heaven? 
Fairer then rocks of pearl and pretious stone," 

TAS. p. 167, S. S. ed. p. 7. 

" Zenocrate, the loveliest maid alive, 

Fairer than rocks of pearl and precious stone, 

Whose eyes are brighter than the lamps of heaven," 

I. Tamburlaine the Great. [II. Hi. 

(applied to a woman.) 

"The image of honor and Nobilitie, 

In whose sweet person is comprisde the somme 
Of natures skill and heauenlie maiestie." 

TAS. 11. 237-239 (Bankside Sh. II.) 

(applied to a man.) 
" Image of Honor and Nobilitie, 

In whose sweete person is compriz'd the Sum 

Of nature's Skill and heauenly maiestie." 

I. Tamburlaine V. ii.58 
" Eternall heaven sooner be dissolv'd, 

And all that pierceth Phoebus silver eie, 

Before such hap befall to Polidor." 

TAS. p. 181, S. S. ed. p. 19. 
"Eternal heaven sooner be dissolv'd, 

And all that pierceth Phoebus' silver eye, 

Before such hap fall to Zenocrate! " I. Tamb. III. ii. 

"Thou shalt have garments wrought of Median silke, 
Enchac'd with pretious jewels fetcht from far, 
By Italian merchants that with Russian stemes, 
Plows up huge furrowes in the Terrene Maine. 1 ' 59 

TAS. p. 183-22. 

" Thy garments shall be made of Median silk, 
Enchas'd with precious jewels of mine own, 

And Christian merchants that with Russian stems 
Plow up huge furrows in the Caspian Sea." 

I. Tamburlaine, I. ii., pp. 10 and 12. 



57 Ward, ' Old Eng. Drama,' Scene iii. 

58 Ed. of A. Wac.ner, Heilhronn, 1885. 

59 "The Terrene main" occurs in II. Tamb. I. i. 



4 6 ALBERT H. TO L MAN. 

The verbal agreement is not so complete in the following 
cases : 

"Whose sacred beauties hath inchanted me, 
More faire than was the Grecian Helena 
For whose sweet sake so many princes dide, 
That came with thousand shippes to Tenedos." 

TAS. 11. 257-260. 6o 

" Her sacred beauty hath enchaunted heaven ; 
And had she liu'd before the siege of Troy, 
Helen, whose beauty summond Greece to amies 
And drew a thousand ships to Tenedos, 
Had not been nam'd in Homers Iliads." 

II Tamb. II. iii.61 

" Brighter then the burnisht pallace of the sunne, 
The eie-sight of the glorious firmament." 

TAS. 11. 5 83-4- 62 

*' Batter the shining pallace of the Sun, 
And shiver all the starry firmament." 

II. Tamb. II. iii.63 

"orient pearle." TAS. 1. 439. 

*' And dive into the sea to gather pearle." 

TAS. 1. 606. 
" Ransacke the Ocean for orient pearle." 

Faustus. 1. 1 10 (1604) and 107(1616.) 64 

'•As was the Massie Robe that late adorn 'd 
The stately legat of the Persian king." 

TAS. p. 183-21. 

" And I sat down, cloth'd with a massy robe 
That late adorn'd the Afric potentate." 

II. Tamb. III. ii. 

"Boy. Come hither sirha, boy. 

Sander. Boy, oh disgrace to my person ! sounes, boy of 
your face, you have many boyes with such Pickadenaunts [S/t. 
Soc. ed., Pickadeuantes] I am sure, souns would you not have a 
bloudy nose for this ? " 

TAS. p. 184-22. 

" Wagner. Sirrah boy, come hither. 

Clown. How, boy ! swowns, boy ! I hope you have seen 
many boys with such pickadevaunts as I have : boy, quotha ! " 

Faicstns. Qu. of 1604, P- 84- 



60' Banksicle Sh., T ii. 61 Wagner's ed. 62' Bankside Sb.' ii. 

63 Wvgner's ed. 64 Ed. of Breymann, Heilbronn, 1889. 



TAMING OF THE SHREW 

4/ 

" Wagner, Come hither, sirrah boy. 

Clown. Boy! 0, disgrace to my person] /omuls, boy in 
your face! You have seen many hoys with beards, I am sure." 

Faustus, Qu. of 1616, p. in . 

" As was the Thracian Horse Alcides tannic, 
That king Egeus k-(\ with flesh of men," 

FAS. p. 191-2X. 

"The headstrong jades of Thrace Alcides tam'd, 
That King Aegeus h>(\ with human flesh," 

II. '/a ////>. I V. iii. 
44 As faire as is the milke white way oijove," 

TAS. p. 191-29. 
41 Shall mount the milk-white way, and meet him there." 

II. Tamb. IV . iii. 
" As once did Orpheus with his harmony, 
And rauishing sound of his melodious harpe," 

TAS. 11. 116S-9.66 
. . . " he that built the walls of Thebes 

With rauishing sound of his melodious harpe." 

Faustus. 11. 647-8 (1604), 11. 586-7 (i6i6).67 

"Muske Cassia: [Musk, cassia,] sweet smelling Ambergreecc:' 

TAS., I. 1295.68 
"Embalm'd with Cassia, Amber-Greece, and Myrre." 

II. Tamb. II . iii. 69 
*' And hewd thee smaller then the Libian sandes," 

TAS. p. 205-42. 
" Or hew'd this flesh and bones as small as sand,"" 

. Faustus! Only in Qu. of 1616, p. 126. 

The words crystal and crystalline are very frequently used 
both in Tamburlaine and in TAS. — In Tamburlainc, that great 
conqueror gives meat to the captive Bajazeth upon the point of 
his sword. 7° Ferando brings Kate a piece of meat upon the 
point of his dagger.? 1 

White supposes that TAS. " is the joint production of 
Greene, Marlowe, and possibly, Shakespeare." ? 2 The reason 
for naming Shakespeare here is, of course, the fact that certain 
scenes of TAS. seem to have been drawn upon freely to furnish 
language as well as incidents for corresponding scenes. in TTS. 

65 Ward's ed. Sc. iv. 66 ' Bankside Sh.' ii. 

67BREYMANN'S Ed., Heilbronn, 1889. 68 'Bankside Sh.' ii. 

69 Wagner's Ed. 70 I. Tamb. IV. iv. 71 TAS. p. 193-31. 

72 ' Shakes.,' iv, 391. 



48 ALBERT H. TOLMAN. 

These agreements in the language of the two plays will be con- 
sidered in another place. (See p. 52.) Looking at TAS. 
strictly by itself, there is no occasion, I think, for seeing in it the 
work of more than two authors. 

Must we, however, trace the two distinct styles of TAS,— one 
elevated, and the other familiar; one full of the manner and the 
very words of Marlowe, and the other free from them,— to 
two distinct authors ? I cannot think that this is necessary. 
The play makes so distinctly the impression of having been writ- 
ten at one burst, the two styles are at some points so intimately 
woven together, that I feel forced to hold the view of unity of 
authorship. The writer seems to consider the style of Mar- 
lowe to be the model of excellence for formal love-making, for 
the expression of elevated thoughts, and even for elegant transi- 
tions. He makes a Tapster utter a strain of pure poetry as 
he begins the day : 

TAPSTER. 

" Now that the darkesome night is overpast, 
And dawning day appeares in cristall skie, 
Now must I haste abroade : but soft, who's this ? 
What Sly, o wondrous ! hath he laine heere all night? 
He wake him, I thinke hee's starved by this, 
But that his belly was so stufft with ale : 
What now Sly, awake for shame." 

TAS. p. 214-50. 

Aurelius praises his lady in this wise before he begins a discus- 
sion of the ways and means for securing her : 

" Valeria attend, I have a lovely love, 
As bright as is the heaven crystalline, 
As faire as is the milke white way of Jove, 
As chaste as Phoebe, in her summer sports, 
As softe and tender as the azure downe, 
That circles Citherea's silver doves." 

TAS. p. 191-29. 

The author of TAS seems to write under the immediate influ- 
ence of Tamburlaine ; he feels free to quote from it, perhaps be- 
cause his own play was anonymous. As we have seen, the 
American writer who first pointed out the borrowings from 
Marlowe, considers these to establish him as the author. 73 I 
must interpret this very fact differently, and believe that Mar- 
lowe would not have repeated himself so exactly. " Poets of 
73 Knight's ' Library Ed. of S.,' vol. ii. p. 116. 






TAMING OF THE SHREW. 4() 

Marlowe's class do not repeat themselves in this wholesale 

manner." 74 

Moreover, the American student was able to find only a feu 
striking cases of repetition in the accepted plays of Maki.ow i . 
When these occur within the same play they have little- bearing 
on the case now in hand. I cite the most important passages 
which he gives in this connection : 

" All sweating, tilt about the watery heauens, 
With shiuering speares enforcing thunderclaps." 

I. Tamb. 11. 1059-60. 7"-> 

" Run tilting round about the firmament, 
And break their burning Lances in the aire." 

II. Tamb. 11. 3876-77* 

*' Oh, no, sweet Margaret ! tin- fatal poison 
Works within my head ; my brain-pan breaks ; 
My heart doth faint." 

The Massacre at Par is. 11 

''Oh, the fatal poison works within my breast!" 

Ibid. p. 358, 

v< And make Damascus spoiles as rich to you, 
As was to Jason Colchos golden fleece." 

I. Tamb. 11. 1640- 1.7? 

<l I'le be thy Jason, thou my golden Fleece." 

The Jew of Ma /fa. 1. 17S2.79 

" I'll fire thy crazed buildings, and enforce 
The papal towers to kiss the lowly ground." 

Edw. flic Second* 

<l I'll tire his crazed buildings and incense 
The papal towers to kiss the holy (qy. lowly) earth." 

The Massacre at I\xi is* 1 

The strongest argument for Marlowe as the author of TAS. 
lies, perhaps, in the beauty and excellence of some of the pas- 
sages which are written in his manner. The extract beginning 
"Valeria attend," cited above, is equal to Marlowe's very 
finest work. Mr. Knight's correspondent points out several 
passages of this kind. Who could thus out- Marlowe Mar- 
lowe? Still, the power to write well in a borrowed manner is 

74 Bullen's ' Marlowe.' London, 1885. Vol. i. p. lxxiv. 

75 Ed. of A. Wagner. 76 Wagner. 77 Dyce's M. 1050. ii.p. 303. 
78 Ed. of Wagner. 79 Ed. of Wagner, Heilbronn, 1889. 
SoDyce's M. 1850. ii. p. 183. 81 Dyce's M. 1050. ii. p. 356. 



5 o ALBERT H. TOLMAN. 

not a very uncommon gift, as some famous literary forgeries 
have shown. 

Dyce argues forcibly that TAS. is too effective a comedy to 
be by Marlowe, " to whom, we have good reason to believe, 
nature had denied even a moderate talent for the humorous." 82 
Mr. Swinburne calls the author of TAS. " of all the pre- 
Shakespeareans incomparably the truest, the richest, the most 
powerful and original humourist." 8 3 

A passage already cited — that beginning " Now that the dark- 
some night is overpast " — shows us how intimately the two 
styles of TAS. are woven together. I add two other extracts 
which illustrate the same point ; the second of these, a complete 
scene, will also be needed later for another purpose. 

" O might I see the center [censer, 1607] of my soule 
Whose sacred beauty hath enchanted me, 
More faire than was the Grecian Helena 
For whose sweet sake so many princes dide ; 
That came with thousand ships to Tenedos. 
But when we come unto his father's house, 
Tel him I am a Merchants sonne of Cestus, 
That comes for trafficke unto Athens here, 
And here sirha, I wil change with you for once, 
And now be thou the Duke of Cestus sonne, 
Revel and spend as if thou wert myselfe, 
For I will court my [thy, 1607] love in this disguise." 

TAS. 169-9. 

Ferando. Come Kate, the moone shines cleere tonight me thinkes. 

Kate. The moone? why husband you are deceiv'd. It is the sun. 

Ferando. Yet againe, come backe againe, it shal be the moone ere 
we come at your fathers. 

Kate. Why ile say as you say, it is the moone. 

Ferando. Jesus, save the glorious moone. 

Kate. Jesus, save the glorious moone. 

Ferando. I am glad Kate your stomacke is come downe, 
I know it well thou knowst it is the fun, 
But I did try to see if thou wouldst speake, 
And crosse me now as thou hast done before, 
And trust me Kate hadst thou not namde the moone, 
We had gone backe again as sure as death. 
But soft, who's this that's comming here ? 

Enter the Duke of Cestus alone. 

Duke. Thus al alone from Cestus am I come, 

And left my princely court and noble traine, 



82 Dyce's ' M.,' Intro .lii. 

83 Cited by Bullen, ' The Works of Marlowe,' vol. i, p. lxxvi. 



TAMING OF THE SHREW. 



5' 



To come to Athens, and in this disguise, 
To see what course my son Aurelius takes. 
But stay, heres some it may be travels thither, 
Good sir can you direct me the way to Athens. 

Ferando speaks to the old man. 

Faire lovely maide, yong and affable, 
More cleere of hew and far more beautifull 
Then pretious Sardonix or purple rockes, 
Of Antithesis or glittering Hiasinth, 
More amiable far then is the plain, 
Where glistering Cepherus in silver boures, 
Gaseth upon the Giant Andromede, 
Sweet Kate entertaine this lovely woman. 

Duke. I thinke the man is mad, he cals me a woman. 

Kate. Faire lovely lady, bright and christaline, 

Bewteous and stately as the eie-train'd bird, 
As glorious as the morning washt with dew, 
Within whose eyes she takes her dawning beames, 
And golden sommer sleepes upon thy cheekes, 
Wrap up thy radiations Ln some cloud, 
Lest that thy beauty make this stately tovvne 
Inhabitable like the burning Zone, 
With sweet reflections of thy lovely face. 

Duke. What, is she mad too ? or is my shape transformd 

That both of them persuade me I am a woman, 
But they are mad sure, and therefore ile be gone, 
And leave their companies for feare of harme, 
And unto Athens haste to seek my son. 

Ferando. Why so, Kate, this was friendly done of thee, 
And kindly too : why thus must we two live, 
One minde, one heart, and one content for both, 
This good old man dos thinke that we are mad, 
And glad he is I am sure, that he is gone, 
But come sweet Kate, for we will after him, 
And now persuade him to his shape againe." 

TAS. 202-3, 39-40. 

Mr. Furnivall, in the ' Leopold Shakspere,' speaks of "an 
adapter [of TAS.] who used at least ten bits of Marlowe in it " ; 
but in his facsimile reprint of TAS. (London. 1886) he does not 
seem to assume the existence of any earlier form of the play. 
With the following words of Mr. Furnivall, I can entirely 
agree : 

"With regard to the authorship of A Shrezc, I do not myself 
feel the necessity of its having had two writers ... I am con- 
tent to suppose ^4 Shrew the work of someone unknown man." 8 * 

84 Facsimile Reprint TAS., p. viii. 



5 2 ALBERT H. TOLMAN. 

The agreements of language between TAS. and TTS. are still 
to be considered. Apart from that inquiry, it seems to me prob- 
able that TAS. was the work of a single author, and that this 
author was an admirer and imitator of Marlowe rather than 
that poet himself. Farther than this I have no clear opinion. 
Mr. Bullen thinks that the imitation of Marlowe was done 
" as a joke." 8s 

I now ask the question, What are we to conclude as to Shake- 
speare's connection with TAS. from the fact of the many 
phrases that he borrows from that play ? The agreements and 
disagreements between corresponding parts of the two plays may 
be classified as follows for our purpose : 

i. Short phrases common to the two plays, or nearly so, in 
which the words are almost, so to speak, given in the situation. 

2. Agreements of language which are not " given in the situa- 
tion." 

3. Complete change of language in a speech which has other- 
wise a counterpart in TAS. 

4. Complete omission of parts present in TAS. 

5. Passages which are peculiar to TTS. both in thought and 
wording. 

These five classes of passages cover, I think, the most impor- 
tant points for comparison. Of course the classes run together 
somewhat, and we must weigh carefully the individual passages. 
Let us consider und?r these five heads two representative scenes 
of TTS., Scenes iii. and v. of Act iv., with reference to the 
agreements and disagreements between the two plays. 

1. 

IV. iii. TTS. TAS. (Ed. Shakes. Soc.) 

" I prithee go and get me some re- \ " I prethe help me to some meate." 
past." 

" What say you to a piece of beef and " What say you to a a peese of beefe 
mustard ?" ! and mustard now ?" 

" Ay, but the mustard is too hot a i "I doubt the mustard is colerick for 
little." i you." 

" I pray you, let it stand." " I pray you sir let it stand." 

"And 'twill be supper-time ere you \ "It will be nine o'clocke ere we 
come there," i come there." 



2. 

" When you are gentle, you shall have 
one too, And not till then." 

" Belike you mean to make a puppet 
of me. Pet. Why 'true, he means to 
make a puppet of thee." 



"I, when ye'r meeke and gentell but 
not before." 

" Belike you meane to make a foole 
of me. Feran. Why true he meanes to 
make a foole of thee." 



85 Cited by Furnivall. ' Facsimile of TAS,' p. xiii. 



TAMING OF THE SHREW. 



53 



" Thou hast faced main tilings. Tai. 
T have. (int. Face not me: thou hast 
braved many men; brave not me; I 
will neither be laced nor braved. I say 
unto thee, I bid the master cut out the 
gown; but I did not bid him cut it 
to pieces: ergo thou best. Tai. Why, 
here is the note of the fashion to testify. 
Pet. Read it. Gru. The note lies in \ 
throat, if he say I said so. Tai. 
{Reads} ' Imprimis, a loose-bodied 
gown:' Gru. Master, if ever I said 
loose-bodied gown, sew me in the skirts 
of it, and beat me to death with a bot- 
tom of brown thread : I said a gown. 
Pet. Proceed. 'Tai. [Reads' 'With 
a small compassed cape :' Gru. I con- 
fess the cape. Tai. [Reads] ' With a 
trunk sleeve." Gru. I confess two 
sleeves." 



"Go take it up unto thy master's use. 
Gru. Villain, not for thy life: take up 
thy mistress' gown for thy master's use ! 
Pet. Why, sir, what's your conceit in 
that? Gru. ( ), sir, the conceit is deep- 
er than you think for: Take up my 
mistress' gown to his master's use !" 



I For convenience the order of the two 
next parts is inverted^ 

I >oost thou heare Taylor, thou hast 
braved many men: brave not me. 
Thou'sl taste many men. 'lay. Well 

sir. San. Face not me. He neithei 

be faste nor braved at thv hands 1 can 
tell thee. "J 

[" Why sir 1 made it as your man 
gave me direction. You may reade tin- 
note here. Feran. Come hither sin;. 
Taylor reade the note. '/ay. Itam. :. 
faire round compost cape. San. [that! 
true. Pay. And a large truncke sleeve. 
San. That's a lie maister. I sayd two 
truncke sleeves. Feran. Well sir goe 
forward. 7'av. Item a loose-bodied 
gowne. San. Maister if ever I sayd 

loose bodies gov ne, sevt me in a seame 

and beat me to death, with a bottome of 
brown thred. Pay. I made it as the 
note bad me. San. I say the note lies 
in his throate and thou too and thou 
sayst it."] 

"Go I say and take it up for yom 
maisters use. .S'«///. Souns villaine not 
for thy life touch it not, souns take up 
my mistris gown to his maister's use ? 
Feran. Weil sir w hats your conceit of 
it. San. 1 have a deeper conceit in it 
than you thinke for, take up my mis 
tris gowne to his maisters use "? 



*' Well, come, my Kate; we will unto "Come Kate we now will go see thy 
your father's. father's house 

Even in these honest mean habili- Even in these honest meane abilli 
ments: ments, 

Our purses shall be proud, our gar- Our purses shall be rich our garments 
ments poor;" plaine," 



3. Nothing especial. 

4. Nothing especial. 

5. Katharine's long speech at the beginning of the seem 
Grumio's " why the mustard without the beef," Petruchio's 
causeless scolding of the Tailor are all peculiar to TTS. 



1. 



IV. v. TTS. 



" Good Eord, how bright and goodly 
shines the moon ! 

" Kath. The moon 1 the sun; it is 
not moonlight now." 

" It shall be moon, or star, or what I 
list, or ere I journey to your father's 
house." 

" I say it is the moon. Kath. I know- 
it is the moon." 

"A' will make the man mad, to make 
a woman of him." 



TAS.86 

" Come Kate the moone shines 
clear tonight methinks. Kate. The 
moon? why husband you are deceived 
it is the sun." 

" Yet againe come back againe it 
shall be the moon ere we come at youi 
father's." 

"Jesus save the glorious moone. 
Kate. Jesus save the glorious moone." 

"I thinke the man is mad he calls me 
a woman." 



2. Nothing. 

3. Petruchio's address toVincentio and Kate's obedient words 

86 For full scene, see p. 50 of this dissertation. 



54 ALBER T H. TOLMAN. 

in the same strain are remarkable for their dramatic identity with 
the same parts in TAS., but they show a complete difference of 
phraseology. In both plays the language is high-flown ; but in 
TTS. alone is it Shakespearian. The passage from TAS. has 
already been given. (See p. 51.) 

4. Ferando has a congratulatory speech after this victory in 
TAS. It is tastefully omitted in TTS. 

5. It is peculiar to TTS. that Petruchio corrects Katharine for 
addressing Vincentio as a young woman (though she has only 
followed him in this). This calls out a second speech from her, 
contradicting her first one. 



The general impression which I get from comparing TTS- 
IV. iii. with TAS. is that Shakespeare could well have written 
the parallel parts of TAS. The impression from comparing IV- 
v. with TAS. is most decidedly that Shakespeare, if he is 
using TAS. at all, is using the ground-plan of another author. 
The other scenes of TTS. stand with IV. v. rather than with IV. 
iii. We have seen that the two Inductions have few agreements 
of language. V. ii. has many phrases and lines taken more or 
less accurately from TAS., but these expressions are mostly in 
the short speeches, and the additions and changes are very im- 
portant. Katharine has a long theological disquisition at the 
end of TAS ; TTS. furnishes us here a clear-cut argument from 
facts. In all cases, the agreements between the two plays come 
in short speeches, or in one line, two lines, or at most three lines 
within a longer speech. In every passage that is of any length, 
in Shakespeare's part of The Taming of the Shrew, the great 
poet finds easily and at once " a more excellent way." 

The relation of TTS. to TAS. is very different in these respects 
from that of Parts ii. and iii. of Henry VI. to the two older 
plays, The First Part of the Contention and The True Tragi - 
die of Richard Duke of Yorke. 

In the following passage, the Midas touch of Shakespeare 
gives us a striking contrast between the two plays : 

" Sweete Kate, thou lovelier than Dianas purple robe, 
Whiter than are the snowie Apenis, 
Or icie haire that growes on Boreas chin. 
Father, I sweare by Ibis golden beake, 
More faire and radiant is my bonie Kate, 
Then silver Xanthus when he doth embrace 
The ruddie Simies at Idas feete." 

TAS. p. 183-22. 



TAMING OF THE SHREW. ^ 

* l Did ever Dian so become a grove 
As Kate this chamber with her princely gait? 

(), he thou I Han, and let her be Kate ; 

And then let Kate be chaste and Dian sportful !" 

TTS. II. i. 260-263. 

In passing judgment upon Shakespeare's relation to IAS.. 
the editors of the ' Cambridge Shakespeare ' say : " The Taming 
of a Shrew is manifestly by another hand." 

Mr. Frey, in vol. ii. of the ' Bankside Shakespeare,' alter ;i 
careful comparison of TAS. and TTS., unhesitatingly adopts the 
view of Pope and Capell that Shakespeare wrote both plays. 
In reaching this conclusion, he distrusts all considerations that 
admit of personal bias, and seeks to settle the question by means 
of purely objective evidence. Let us weigh this evidence. 

"A Stephen Sly is mentioned several times in the records of 
Stratford A Christopher Sly was a contem- 
porary of Shakespeare at Stratford.'' 8 ? 

Following Mr. Frey, I copy from the Registers of the Com- 
pany of Stationers, London, 88 the following entries : 

1606 [i. e. 1607] 
22. Januarij 

Master Linge Entred for his copies by direccon of A Court 
and with consent of Master Burby vnder his 
handwrytinge 
These iij copies. 
viz. 
Romeo and Juliett. 
Loues Labour Loste. 
The taminge of A Shrewe. . . ..\\iij d R 
1607 
19. Novembris. 

John Smythick. Entred for his copies vnder th[e hjandes oi 
the wardens. these bookes followinge 
Whiche dyd belonge to Nicholas Lynge 

viz : 
[Then follows a numbered list of sixteen 
books, four of which I give.] 
6. Abooke called Hamlett . . . vj d 
9. 1 he taminge of a Shrewe . . . vj' 1 

10. Romeo and Juleti .... vj d 

11. Loues Labour Lost vj' 1 

Three out of the four numbered paragraphs which conclude 
87 Frey's Introd., p. 7. 88 Arhkr's ' Transcript,' vol. iii. 



56 



ALBERT H. TO L MAN. 



Mr. Frey's scholarly Introduction give a summary of his 
grounds for believing that Shakespeare was the author of 
TAS. I cite the paragraphs in question : 

" i. If the author of The Taming of a Shrew was not Wil- 
liam Shakespeare, he must have been a man acquainted with 
Stratford-on-Avon, with Wilmecote, with the Sly family and 
with the tinker himself. Is it probable that two authors should 
exist having a cognizance of all these facts ? 

" 2. If the author of the older comedy was not Shakespeare, 
the latter must have pirated an enormous quantity of lines and 
scenes from some other man, a fact which would not have 
escaped the notice of those who were ever ready to ridicule and 
censure him. But there is nothing on record to prove that he 
was ever criticised unfavorably for his production. 

" 3. Burby in 1606-7 sold three plays to Ling, all of which 
were then recognized as Shakespeare's [?], and one of them was 
the older comedy. Burby's transactions were honorable, and he 
would scarcely have foisted a counterfeit production upon his 
buyer." 

In answer to these arguments I would advance the following 
considerations : 

1. The use of the name Sly is all the Warwickshire coloring 
which is found in the Induction of TAS. The names of War- 
wickshire localities appear only in TTS. .STk and Katharina are 
the only characters whose names are the same in TAS. and 
TTS. Shakespeare may retain this name in TTS. because he 
knew the Sly family of Stratford. Perhaps he is making a half- 
apology for his free use of an honored name, when he makes 
the tinker say, "The Slys are no rogues ; look in the chroni- 
cles ; we came in with Richard Conqueror." 8 9 

2. If the author of the older comedy was Shakespeare, then 
Shakespeare did pirate a large number of lines, many of them 
verbatim, from his great contemporary Marlowe. Mr. Frey 
says nothing at all about the large Marlowe element in TAS. 

3. How does Mr. Frey know that the three plays sold to 
Ling " were then recognized as Shakespeare's " ? If Shake- 
speare made direct use of TAS., as he is usually supposed to 
have done, he certainly borrows the plot and the situations of 
that play with complete freedom and fullness ; in his additions 
and alterations, however, there are some very fine touches. He 
is also strangely free in appropriating the very language of 

89 I nd. TTS., 11. 3-5. 



TAMING OF THE SHREW, — 

TAS., it" he used that play at all, hut In- docs not seem to follow 
that language as if it were his own. 

III. Shakespeare's part in tts. 

The Jahrbucher of the German Shakespeare Society tor the 
four years 1885-8 tell us that, during the years 1884-7, Othello 
was presented upon the stage in Germany 352 times; Hamlet, 
349 times ; and TTS., 318 times. These are the three dramas 
among- those attributed to Shakespeare that were acted most 
frequently during these four years. — Can it be that SHAKE- 
SPEARE was not the sole author of TTS. ? a play which still holds 
the stage in England and America, and which is so exception- 
ally popular in Germany, the second father-land of the great 
poet. 

At the foot of each one of the statistical tables which have 
been used in obtaining the above figures, stands a special note 
concerning TTS. It is the only play in the list which calls for 
supplementary statistics. During these same four years, 1884-7, 
in addition to the 318 presentations noted above, TTS. was 
acted 139 times in the so-called Holbein revision (Bearbeitung), 
which bears the title Liebc kann Alles. Here is a new proof of 
the popularity of this piece. But how does it happen that this 
play alone among- the plays attributed to Shakespeare permits 
of being so skillfully rewritten by a modern author that his 
revision secures permanent approval and acceptance in critical 
Germany ? 

The most divergent views have been held with reference to 
the authorship of TTS. Pope made SHAKESPEARE the author 
not only of this play but alsoof TAS. 8 9 a Dr. WARBURTON con- 
sidered TTS. to be certainly spurious, as far as any connection 
with Shakespeare is concerned.9° 

Farmer and Steevens held less pronounced but still oppos- 
ing views. Farmer supposes TTS. to be <l not originally the 
work of Shakespeare, but restored by him to the stage." 
Shakespeare's contribution to this restored play was the whole 
Induction, "and some occasional improvements, especially in the 
character of Petruchio.'^ 1 Steevens says on the contrary : 

" I know not to whom I could impute this comedy, if .Shake- 
speare was not its author. I think his hand is visible in almost 

89a Ward, ' Eng. Dram. Lit.' 90' Variorum Shako.." of 1021. Vol. v. 

91 ' Variorum 1 of 1821. 



5 g ALBERT H. TOLMAN. 

every scene, though perhaps not so evidently as in those which 
pass between Katharine and Petruchio." 9 2 

The wide divergences of earlier critics, however, are giving 
place to a good measure of agreement. Of later critics, White, 
Fleay and Furnivall have studied the question of the author- 
ship of TTS. with substantially the same results. White says :93 

" In it [TTS.] three hands at least are traceable; that of the 
author of the old play, that of Shakespeare himself, and that of 
a co-laborer. The first [hand, that of the author of TAS.,] 
appears in the structure of the plot, and in the incidents and the 
dialogue of most of the minor scenes [I question the truth of 
this phrase in its. apparent meaning. It is the major scenes of 
TTS. which especially resemble parts of TAS.], . . . ; to the last 
[hand, that of the co-laborer,] must be assigned the greater part 
of the love business between Bianca and her two suitors [Gre- 
mio and Tranio are omitted from consideration] ; while to 
Shakespeare belong the strong, clear characterization, the deli- 
cious humor and the rich verbal coloring of the recast Induction, 
and all the scenes in which Katharine and Petruchio and Gru- 
mio are the prominent figures, together with the general effect 
produced by scattering lines and words and phrases here and 
there and removing others elsewhere, throughout the rest of the 
play.''' 

The single authorship of TTS. has been doubted, also, on 
metrical grounds. Konig, the careful investigator of Shake- 
speare's versification, obtains such contradictory results from a 
comparison of the metrical peculiarities of TTS. with those of 
the other plays that he is forced to the conclusion that it cannot 
be entirely the work of Shakespeare.94 

Mr. F. G. Fleay95 and Mr. F. J. Furnivall9 6 have both 
sought to divide the Shakespearian from the non-Shakespearian 
parts of the play. Mr. Fleay apparently makes little use of his 
elaborate paper " On the Authorship of the Taming of the 
Shrew" in determining what parts he shall assign to Shake- 
speare. Mr. Furnivall claims to be guided only by his 
sense of style. With reference to both of these attempts to 
determine the part of Shakespeare in this drama, there is 
something left to be desired. Furnivall acknowledges this ; 
his remarks are given only as comments upon Fleay's paper, 



92 ' Var.' of 1821. 93 ' Shakespeare's Wks.,' Vol. iv. 

94" Der Vers in Shakspere's Dramen." Quellen und Forschungcn lxi. p. 137 
95 Trans. New Shaks. Soc. for 1874. Reprinted in his ' Shakespeare Manual.' 
69 Trans. N. S. Soc, 1874. 



TAMING OF THE SHREW. 



59 



and he calls for " more study." That additional study 1 have 
sought to give. 

We need a clear view of the terms on which SHAKESPEARE 
and his presumed partner or partners divided their task between 
them. Unless there was some plan of procedure, some definite 
system in the assignment of the parts, which system we can find 
out by careful study, our results must necessarily be so largely 
personal as to lose much of their value. Metrical tests and speci- 
fic peculiarities of style may so far corroborate our results as to 
make it very sure that we have divided the play into parts be- 
hind which there lurks a similar division in the authorship. But 
not unless we can find out the terms of the agreement between 
these writers, their treaty of cooperation, can we feel really 
satisfied with our results. Of course, there may have been no 
clear-cut division of labor; but this is not probable. It is quite 
likely, however, that some one of the associated authors would 
have the final revision of the whole piece. In this revision, he 
might remove, insert, or rewrite passages in the portion contribu 
ted by the subordinate partner or partners. So far as he made 
the different writers tions, the task of separating the work of 
such altera would become more and more difficult. It might 
become impossible to do this except in a very general way. 

That TTS. was not written by one man at one time, that we 
have at least two styles here, will be evident to the careful 
deader. Let any one compare the opening speeches of Act I. 
(Sc. i. 1-40), with their strutting rhetoric, their solemn rehearsal 
of that preliminary business of the play which always clogs and 
embarrasses a weak writer, — with Petruchio's soliloquy (II. i. 
169-182) where he discloses his plan as to the manner in which 
he is to woo Katharine. The first passage is swelling, vague. 
The servant seems to know already all that the master can 
ever hope to learn ; he unfolds an elaborate system of education 
with all the tedious, superficial wisdom of a man who knows 
many words but few things. The advice ends, however, with 
that gem : 

" In brief, sir, study what you most affect." 

In these lines and the first speech of Baptista which follows, the 
metrical accent falls very frequently upon unemphatic monosyl- 
lables ; 97 and the constant use of inversion gives an artificial 
effect.? 8 



97 See 11. 1, 10, 38, 50. 

98 See Dr. Abbott, Trans. New Shakes. Soc, 1874, p. 121. 



6q ALBERT H. TOLMAN. 

I give the first twenty-four lines of the passage described. 
These constitute the first speech of the main play : 

"Lucentio. Tranio, since for the great desire I had 
To see fair Padua, nursery of arts, 
I am arrived for fruitful Lombardy, 
The pleasant garden of great Italy ; 
And by my father's love and leave, am arm'd 
With his good will and thy good company, 
My trusty servant, well approved in all, 
Here let us breathe and haply institute 
A course of learning and ingenious studies. 
Pisa renown'd [renowned] for grave citizens 
Gave me my being and my father first, 
A merchant of great traffic through the world, 
Vincentio, come of the Bentivolii. 
Vincentio's son brought up in Florence 
It shall become to serve all hopes conceived, 
To deck his fortune with his virtuous deeds : 
And therefore, Tranio, for the time I study, 
Virtue and that part of philosophy 
Will I apply that treats of happiness 
By virtue specially to be achieved. 
Tell me thy mind ; for I have Pisa left 
And am to Padua come, as he that leaves 
A shallow plash to plunge him in the deep 
And with satiety seeks to quench his thirst." 

TTS. I., 1-24. [.99 

The second passage to which I have referred, the soliloquy of 
Petruchio (II. i. 169-182), is clear, sharp, specific; each noun, 
verb, adjective, adverb, each comparison seems, so to speak, to 
put its finger on some feature in Petruchio^s plan. Antithesis 
and climax are used in that easy, unforced way that marks the 
master. Note the contrast between these lines and those just 
given : 

"Petruchio .... I will attend her here, 

And woo her with some spirit when she comes. 

Say that she rail ; why then I'll tell her plain 

She sings as sweetly as a nightingale : 

Say that she frown ; I'll say she looks as clear 

As morning roses newly wash'd with dew : 

Say she be mute and will not speak a word ; 

Then I'll commend her volubility 

And say she uttereth piercing eloquence : 

If she do bid me pack, I'll give her thanks, 

99 Globe Edition. 



TAMING OF THE SHREW. 61 

As though she bid mo stay by her a week : 
If slit- deny to wed, I'll crave the day '/ 

When I shall ask the banns and when he married. 
But here she comes ; and now, Petruchio, speak." 

ITS. II. i. 169- 1S2. 

I think that we shall feel certain that these two styles belong 
to different authors. The writer of the first passage never by 
any process of growth attained unto the second. — What is the 
evidence that Shakespeare took part in the production of 
TTS. ? The appearance of the play in the first and authorita- 
tive edition of his works, the Folio of 1623, furnishes a strong 
presumption in favor of his connection with the piece. The 
thoroughly Shakespearian quality of such parts as the Induction, 
and Scenes i and v of Act IV gives to this presumption the 
strongest confirmation. 

In searching for some clue as to the exact portion of the work 
which comes from the hand of Shakf.speare, it is natural to 
consider what has often been recognized as a fortunate sugges- 
tion of Mr. Collier. He says : 

"I am, however, satisfied, that more than one hand (perhaps 
at distant dates) was concerned in it [TTS.], and that Shake- 
speare had little to do with any of the scenes in which Katha- 
rine and Petruchio are not engaged." IO ° 

We see this hint reappearing in White's statement already 
quoted (see p. 58) that " all the scenes in which Katharine and 
Petruchio and Grumio are the prominent figures " belong to 
Shakespeare. Collier, however, seems not to have fol- 
lowed up his suggestion, and not even to have remembered it. 
In his edition of Shakespeare (1842, Vol. iii) he simply speaks 
of " portions which are admitted not to be in Shakespeare's 
manner." No criterion of any sort is given us. Later in the 
same Introduction he gives to SHAKESPEARE a part of the play 
which his own suggestion and the consenting opinion of all later 
investigators who admit the composite character of TTS. would 
take from him. 

Following Mr. Collier's suggestion, let us look at those pas- 
sages by themselves in which Katharine and Petruchio appear 
upon the stage together. These are the following : — II. i. 183- 
326 ; III. ii. 186-241 ; IV. i. 123-181 ; IV. iii. 36-end ; IV. v.; V. 
i. 10-end ; V. ii. 1-48, 99-105, and 121-187. (I follow the num- 
bering of the Globe edition.) 



ioo'Hist. Dramatic Poetry,' iii. 78, ed. 1831. — Furnivall's reference. 



6 2 A LB ER T H. TO L MA N. 

One of these passages, V. i. io-end, is strictly exceptional. 
Petruchio and Katharine are present during this scene, but they 
are of no consequence in the development of the action. Their 
part is simply, as Petruchio expresses it, to " stand aside and see 
the end of this controversy " (1. 63). At the close of the scene 
they are left upon the stage together for a moment. Petruchio 
demands that Kate kiss him in the street. She demurs ; but he 
threatens to go home again, and she obeys. The siluatio?i here 
is admirable ; but the few words of Petruchio and Katharine 
come to us largely in weak, un-Shakespearian doggerel rhyme. 
In all the other passages given above, Petruchio and Katharine 
are the central figures. This scene is entirely exceptional in this 
respect. 

The whole ground-plan of this scene, too, is taken from The 
Supposes, and is not found in TAS. But the whole action 
between Petruchio and Katharine is common to TAS. and TTS. 
For every one of the other passages mentioned, there exists a 
scene more or less similar in TAS. 

We shall therefore leave out of our consideration this excep- 
tional passage. 

Let us read carefully the other parts of the play which are 
mentioned above, and see if they have Shakespeare's style. 
II. i. 183-326 seems to be his. Some of the dialogue is coarse, 
but Petruchio's standards of propriety are not the better ones of 
to-day ; moreover, he is taming a shrew, and is careful not to be 
above his business. Kate is badly worsted. This lover who 
gives before a good blow, but never gives up, is a new thing in 
her experience. The longer speeches all fall to the unabashed 
Petruchio, and are pure Shakespeare. The device of getting 
Kate to walk, by pretending to have heard that she limps ; her 
anger at being caught in this trap ; his bare-faced declaration 
that she has been very loving to him, but that they have agreed 
that " she shall still be curst in company " ; — these points are 
admirable comedy. 

The above passage should be considered as beginning with 
line 169. This is the first line of Petruchio's soliloquy, which 
Kate interrupts. Here he tells us the manner in which he means 
to woo her. He then goes on to act out the plan before us. 
This soliloquy is dramatically a part of the wooing scene and 
shows the same style. 

The next passage, III. ii. 186-241, is not so plainly Shake- 
speare's, but there is nothing that is not entirely worthy of him. 



TAMING OF Till: SHREW 



63 






Kate's spirited speeches arc what we expect of her. Petruchio 
begs the bride with such earnest, lover-like pleading not to be 

angry, that Gremio misunderstands his courtesy, and says, "Ay, 
marry, sir, now it begins to work." Petruchio next commands 
everyone present to obey his wife and "go forward" at her 
command ; and then, after all possible respect has been shown 
to the woman of his choice, he declares his mediaeval doctrine <»( 
absolute property in his wife, commands Grumio to draw his 
weapon ready for right, and marches the astonished Katharine 
off with him. This certainly seems to come from the same- 
writer as the scene we have been considering just before— from 
Shakespeare. 

The whole of IV. i. seems to be by Shakespeare, and not 
merely the lines already indicated, 1 23-181.. The scene is laid 
at Petruchio's house after the marriage ; Shakespeare's fellow- 
author would have no occasion to go there. The first part of 
this scene, during which Petruchio and Katharine are not upon 
the stage, is wholly occupied with preparations for their appear- 
ance. The style is Shakespearian, no part of the play more so. 
Nothing in the whole comedy is better than Grumio's elaborate 
paraleipsis, — beginning, "Tell thou the tale : but hadst thou not 
crossed me, thou shouldst have heard how her horse fell and she 
under her horse; etc." (IV. i. 74 f . ) Grumio seems to be the 
one character outside of Petruchio and the shrew who has 
received Shakespeare's especial attention. This bustle' of 
preparation at Petruchio's country house has a short counterpart 
in TAS. 

IV. i. ends with a soliloquy of Petruchio in which he outlines 
his policy. This part is equally clear, and is present in outline 
in TAS. The whole scene belongs to SHAKESPEARE. 

The first 36 lines of IV. hi., where Katharine begs Grumio for 
meat, have a full counterpart in TAS. The whole Scene is 
acted at Petruchio's house, and it is all plainly from the hand of 
Shakespeare. IV. v., seems also to be plainly his. 

We feel at first like questioning SHAKESPEARE'S authorship 
of V. ii. 1-48. Here the wit becomes somewhat weak. This 
bantering has the good result, however, that the following wager 
comes in very naturally, instead of being the utterly causeless 
thing that it is in TAS. 

The other parts of Act V. Scene ii. that have been mentioned 



6 4 



ALBERT H. TOLMAN. 



above seem to be entirely worthy of Shakespeare, except the 
few lines of weak, doggerel rhyme at the end of 1 21-187. 

The parts of V. ii. in which Katharine is out of the room 
plainly belong with the rest of the scene. The first time, she is 
away but a few moments before being called back ; the second 
time, Petruchio sends her to bring the disobedient ladies. She 
goes out in the same way in TAS. ; and there are no breaks in 
the style at these points. Just before Petruchio and Katharine 
leave the stage for the last time, near the close of the play, we 
find the lines in rhymed doggerel already mentioned, with one 
exception four-accent lines. We have had none of these in the 
passages already accepted as Shakespeare's, but they occur 
frequently in the other parts of the play. If we attribute noth- 
ing to Shakespeare after this weak doggerel begins, his part 
will close with V. ii. 181, instead of 187. FLEAYputs the end of 
Shakespeare's part after line 175, perhaps objecting to the 
rhyme which follows. Furnivall makes the division after line 
180. The idea of 176-179 is present in TAS. also. 

The parts of TTS. which we have now accepted as plainly 
Shakespearian are the following : 

II. i. 169-326 158 lines. 

III. ii. 186-241 56 " 

IV. i. 214 " (Misprint in Globe ed.) 
IV. iii. 198 " 

IV. v. 79 " 

V. ii. 1-181 181 " 

Total, 886 lines. 

Except for the disagreement as to the exact point at which the 
last passage should close, Fleay and Furnivall, working 
independently, have assigned to Shakespeare every one of 
the parts given in this table. In accordance with Furnivall's 
suggestion, it would be well to have these portions of the play 
printed in large type as the undoubted work of Shakespeare. 

Is there anything else in TTS. that should be assigned to 
Shakespeare ? After studying the play with great care, seek- 
ing to form conclusions independent of the work of my prede- 
cessors, I find occasion to add but very little to the list of parts 
already attributed to Shakespeare. There are only thirty-five 
lines more in the entire play which Fleay and Furnivall are 
agreed in assigning to Shakespeare except as Furnivall 



TAMING OF THE SHREW. n - 

altered his first view after receiving Fleay's table. Lei us 
examine these thirty-five lines ; they are, III. ii. 151-1 5. 

The first thing we notice in the passage is that not one of 
Shakespeare's three characters,— Petruchio, Katharine and 
Grumio,— is on the stage. The principal speaker is Gremio, a 
character suggested entirely by The Supposes, where his coun 
terpart bears the name of Cttander. 

We find, too, that there is no passage corresponding to this 
in TAS. In every part assigned to Shakespeare, so far, then- 
has been some counterpart in the companion play. 

These facts are very striking. Some less important points 
may also be noticed. Shakespeare's plays nowhere else fur- 
nish an oath with "gogs'' ; oaths are often made witli " "od's," 
however. This very oath, " gogs-wouns," (1. 162* has the form 
" 'od's nouns" with Mrs. Quickly 1 Merry Wives, IV. i. . 

The long' speech by Gremio (169-185) is printed as prose in 
the Folio of 1623. It seems to be rightly given as verse in tin 
in the Globe edition. The three-accent line in the middle of the 
speech is noticeable ; there is nothing like it in the parts already 
assigned to Shakkspeark ; but in the non -Shakespearean parts 
we have similar lines in II. i. 346 and 399. Cp. I. i. 91. 

I have given the first place to these considerations because 
they are impersonal facts, which cannot be- manipulated to suit 
the taste and purpose of the investigator. I speak next of the 
style and dramatic fitness of the passage ; these considerations 
are more subjective, more open to personal bias on the part of 
the critic. 

The vigor and effectiveness of the language in these lines have 
naturally led to the belief that we have here the handiwork of 
the great master. I am unable to get the genuine Shakespearian 
impression from the passsage, but that may very well be because 
I am prepossessed against it. 

The question may now be asked, " Have we here Shake- 
speare's Petruchio at all v> * Shakespeabe's Petruchio, in 
every scene where we have so far observed him, from the begin- 
ning of the play to the end, has had something of the gentleman 
in his bearing. Immediately after the wedding he is willing to 
entreat, "O Kate content thee; prithee, be not angry" (III. ii., 
217). He is careful to see to it that the Tailor is at once 
appeased for the hard usage to which he has been subjected 
( IV. iii., 166). In all Petruchio's ill-treatment of Katharine after 



66 ALBERT H. TO L M 'AX. 

the marriage, he is careful to keep up a pretence of kindness, 
and by a fine irony his pretence is only a deeper truth. Some 
genuine manliness has been present in him at every point. Of the 
simply farcical, we have had nothing. But here in this marriage 
scene (III. ii., 151-185), if we look at it seriously, we have a bar- 
barian, making light of all holy things, treating God and man 
with contempt; and such barbarism cannot be altogether ex- 
cused by the goodness of the ultimate purpose. I believe that 
this spirited bit is given us by the same writer who describes 
Petruchio's horse as a travelling collection of equine ailments 
(III. ii., 43f.) — that is, by Shakespeare's gifted co-laborer. 

It is in favor of this passage that it comes immediately 
before a part which is plainly Shakespeare's. It is easy to 
think of him as writing a telling introduction to the few lines 
which fell to him here according to plan. I cannot regard the 
part as his, however, for the reasons that have been given. 

After seeing Fleay's table, Furnivall was willing to assign 
to Shakespeare III. ii., 1-125, but had not before done so. 
The passage has a full counterpart in TAS. Katharine is pres- 
ent at the beginning of the scene. Petruchio and Grumio 
appear together after line 88. 

The opening lines do not make a very clear impression either 
way, when one reads them with reference to the question wheth- 
er they possess the Shakespearian quality or not. There is one 
little fact that deserves attention. The form appoint occurs in 
Shakespeare's dramas thirteen times ; appointed, twenty-nine 
times ; but "point occurs only here ; 'pointed, only here and in 
the preceding Scene. The preceding Scene is confessedly non- 
Shakespearian. Moreover, the non-Shakespearian parts of this 
play show some peculiar abbreviations. Notice 'cer?is for con- 
cerns (V. i., 77.) and 'leges for alleges (I. ii., 28). Different 
forms of to concern occur in the Concordance forty-eight times ; 
but there is no qther abbreviation like this. Forms of to allege 
occur three times ; such a contraction comes only here. ' Long- 
eth for belongeth (IV. ii., 45 and IV. iv., 7) cannot be cited, as 
this verb is often contracted. I confess that it is easy to give 
too much weight to arguments of this kind. On the whole, I 
cannot think that these opening lines are Shakespeare's. 

The next striking feature of this scene was doubted by Mr. 
Furnivall from the first. He says concerning Biondello's 
description of Petruchio's horse, "Was that cattle-disease book's 









TAMING OF THE SHREW. 67 

catalogue of the horse's ailments his [Shakespeare's], fond as 
he is of a list of names or qualities? Was this one up to his 
level 101 ?" So far, we have not found that Shakespeare has 

anything to do with Biondello. 

The same character, Biondello, soon makes another speech 
that is questionable. It consists of five two-accent lines oi 
rhymed doggerel (III. ii., 84-88). These may be quoted from 
a ballad, as Collier suggests, but such a piece of barren dia- 
lectics does not acquire any significance or fitness because of 
being quoted. This sort of verse does not come in the parts oi 
the play that we have assigned to Shakespeare. Biondello 
seems to talk in similar fashion again in "and so may you, sir ; 
and so, adieu, sir." (IV. iv., 101). A third passage, printed as 
prose in the Globe edition, is Grumio's " Kqock you here, sir ! 
why, sir, what am I, sir, that I should knock you here, sir?" 
(I. ii., 9-10). I would give none of these parts to Shake- 
speare. I do not reckon Grumio's words, " Now were I not a 
little pot and soon hot, etc." ( IV. i., 6). This rhyming prov- 
erb is still current in the mouths of Englishmen, and it is thor- 
oughly woven into the prose of Grumio's speech. 

The lines which follow the entrance of Petruchio and Grumio 
(89-125) do make a decidedly Shakespearian impression upon 
one. It seems as if the master may have written these speeches 
for his favorite Petruchio. A passage of thirty-two lines in TAS. 
shows the same situation that is found here ; in some respects 
the two plays are closely parallel in these portions. These lines 
in TTS. seem to me to be Shakespeare's. 

Before noticing that Furnivall had proposed the same 
question, I found myself obliged to ask whether II. i., 1 15-168 
should not be given to Shakespeare. Atthe beginning of the 
passage, Petruchio asks Baptista, point-blank, upon what terms 
he can have Katharine for his wife. A somewhat similar con- 
ference between Ferando and Alfonso comes in TAS., but they 
refer to a previous agreement. Then comes Hortensio's fright- 
ened account of his treatment by the shrew while trying to give 
her a music lesson. This incident, which is here narrated, is 
directly presented in TAS. in a full scene. The style of these 
fifty-four lines seems Shakespearian. Observe : 

" Signior Baptista, my business asketh haste, 
And every day I cannot come to woo." 11. 115-116. 

101 Trans. X. S/iak. Soc. 1874, p. 105. 



63 ALBERT H. TO L MAX. 

" I did but tell her she mistook her frets, 
And bowed her hand to teach her fingering ; 
When, with a most impatient devilish spirit, 
1 Frets call you these? ' quoth she ; ' I'll fume with them : ' 
And with that word, she struck me on the head, 

While she did call me rascal fiddler 

And twangling Jack ; with twenty such vile terms, 

As had she studied to misuse me so." 11. 150-160. 

Line 159 recalls Portia's "A thousand raw tricks of these brag- 
ging Jacks." I02 

It is in favor of these lines that they immediately precede a 
passage which has already been confidently assigned to Shake- 
speare. It is easy to think of him as writing this introduction 
to the part which fell to him at this point according to the plan 
of authorship. I would add this passage to those that we have 
attributed to Shakespeare. 

I cannot give any explanation for the striking agreement be- 
tween a bit of doggerel which we have called non-Shakespearian 
and a similar couplet in the Comedy of Errors. 

" Villain, I say, knock me at this gate 
And rap me well, or I'll knock your knave's pate." 

TTS., I. ii., 11, 12. 

" Aniipholus of E. Go fetch me something: I'll break ope the 
gate. 

Dromio of S. [ Within~\ Break any breaking here, and I'll 
break your knave's pate." 

Comedy of Errors. III. i., 73, 74. 

There are no passages still unconsidered which seem to me to 
have any claim to be considered as Shakespeare's. 

The following table shows in a convenient form how all the 
parts of The Taming of the Shrew have been assigned : 

Shakespeare. I Induction, I. and II. 

Non-Shakespearian. [ I.i. ; I.ii. ; II.i.1-114 

Shakespeare. II. i. 115-326 III.ii.89-i2s 

Non-Shakes. II.i.327-413 ; Ill.i.; III. ii, 1-88 

Shakespeare. III. ii. 186-241 

Non-Shakes. III. ii. 126-185 1 1 I.ii. 242-254 

Shakespeare. IV. i. IV.iii. IV. v. 

Non-Shakes. IV.ii. IV.iv. V.i. 



Shakespeare. 
Non-Shakes. 



V.ii.1-181 

V.ii. 182-189 



I give in a separate table those parts of TTS. which either 
Fleay, Furnivall, or myself assigns to Shakespeare, but in 
reference to which our views do not agree. 

\02Mer. of Ven. III. iv., 77. 



TAMING OF THE SHREW. 



69 



"Fleay. 



II I.ii.1-129 
[II.ii.151-185 



Furnivall. Before 
seeing Fleay' s table. 
Induction. 
U.i.115-168 (?) 



1 II.ii.151-185 



Furnivall. After see- 

ing Fleay' s tabic. 
Induction. 
[I.i.II5-l68 (?) 
(see Leopold Sbaks.) 
1 1 1. ii. 1-125 
I II.ii.151-185 



Tolman. 

Induction. 
U.i.115-168 

1 1 1. ii. 89-125 



It now remains to go through the play and determine what 
lines, half lines, phrases and "slight touches" which may seem 
worthy of Shakespeare, actually come from him. But the 
power to make such a division, possessed by some SHAKE- 
SPEARE critics, has been denied to me. This faculty deserves to 
rank, I think, not far below the power of prophecy or the gift of 
tongues. It has, however, one disadvantage. Alter its pos- 
sessor has once determined intuitively all the Shakespearian 
"touches" in a play, there is no known method by which he can 
secure the acceptance of his views on the part of a doubting, 
and, it may be, a scoffing world. 

Let us now consider the Induction of TTS. 
Farmer, who thinks that the body of TTS. can have only 
" occasional improvements" from the hand of Shakespeare, is 
careful to say that the " whole Induction" is by him, and that it is 
in his " best manner." Later critics have acquiesced in this view 
concerning the Induction, so far as I know, until we come to Mr. 
Fleay. His rejection of the Induction, doubtful when first 
made, is very decided in his ' Shakespeare Manual' (1878). 

In Furniv all's comments upon Fleay's original paper we 
find the following effective, yes, effectual words : 

"That Shakspere's hand is clearly seen in the retoucht 
Induction, even in its opening lines, seems to me impossible to 
deny. The bits about the hounds, the Warwickshire places, 
Sly's talk, the music, pictures, &c, are Shakspere to the life. 
With Mr. Grant White, I claim the whole for him." 

White's exact words concerning the Induction have been 
already cited (See p. 58). 

The Induction of TTS. is very similar in plan to that ol lAb. 
In the other Shakespearian parts of TTS., however, we con- 
stantly meet phrases and lines which are found in TAS. in 
almost the same form. In the Induction, Shakespeare seems 
to have performed his task with especial love ; one mark of this 
is the great length, comparatively, of this part in TTS. He 
also gives us some improvements upon the plot of the Induction 
of TAS. With these improvements comes a more complete 



TO 



ALBERT H. TOLMAN, 



difference of language than we find elsewhere in TTS. Some- 
thing like three full lines, and enough phrases to make four lines 
more out of a total of 285 lines, agree very exactly with the lan- 
guage of TAS. The relation of the Induction of TTS. to that o* 
TAS., with respect to the language, is very much like that of 
Scene i. in Act IV, of King John to its original in The Trouble- 
some Raigne of King John. We do not know, however, that 
TAS. is the original of TTS. 

Delius calls attention to the relation of King John as a 
whole to The Troublesome Raigne as furnishing an interesting 
parallel to the relation of TTS. to TAS. King John follows the 
plot and the action of its companion piece much more closely 
than is the case with our play. The agreement in language,, 
however, between TTS. and TAS., is much greater than that be- 
tween King John and its predecessor. 

Since Shakespeare's authorship of the Induction has been 
doubted, though I cannot understand upon what grounds, it 
may be well to g'ive a few passages, mostly from the undoubted 
plays, which bear some clear resemblance to parts of the Induc- 
tion. 

Ind. i. 42. — ** Believe me, lord, I think he cannot choose." 

Tern. I. ii. 1S6.— "And give it way : I know thou canst not choose."" 

Ind. i. 51. — " To make a dulcet and a heavenly sound." 

M. N. Dream, II. i. 151 — "Uttering such dulcet and harmonious 

breath." 
/'. 68. — "If it be husbanded with modesty." 

Ham. III. ii. 21. — " . . . o'erstep not the modesty of nature." 

See also Ham. V. i., 225. 
i. 83. — Hamlet reminds the players in the same way of a play in 
which he once saw them act. 

See Ham. II. ii,, 440 f. 
/'. foi. — "Were he the veriest antic in the world." 
/. Hy. IV. i. ii. 69. — ". . . . the rusty curb of old father antic 

the law." 
/'. 106. — "And see him dressed in all suits like a lady." 
A. Y. L. I. Hi. ji8. — "That I did suit me all points like a man." 
i, 128. — " Shall in despite enforce a water)' eye." 
M. N. I). III. i. 203. — "The moon methinks looks with a watery 

eye." 
H. 33. — "Call home thy ancient thoughts from banishment." 
R. II. — /. Hi. 212. — " Return with welcome home from banishment." 
R. II. — /. iv. 21. — "When time shall call him home from banish- 
ment." 
ii. 36.— " Each in his office ready at thy beck." 

Ham. III. i. 126. — ". . . with more offences at my beck than 

I have thoughts to put them in." 



/. imixc of Tin: siih'i 11 . 75 

.11. 38. — "And twenty caged nightingales d<> sing," 
FTS. II. i. 172. — "She sings as sweetly as a nightingale." 
j/ 47 ._"Thy hounds shall make the welkin answer them 
And fetch shrill echoes from the hollow earth." 
. I/. A'. P. //". u 115. — *" And mark the musical confusion 

Of hounds and echo in conduction 

The skies, the fountains, ever} region near 
Seem'd all one mutual cry." 
7/. 53. — "And Cytherea all in sedges hid." 
IV. Tah\ fV,iv\ 120.— " . . - violets dim. 

Rut sweeter than the lids of Juno's eyes 
( )r Cytherea's breath,'' 

The epithet in the following passage seems to me full of 
Shakespearian force : 

,7 64.—" Thou hast a lady far more beautiful 

Than any woman In this waning age." 

" Waning age " in II. i. 403 is not SHAKESPEARE'S. 

" . . . your father were a fool 
To give thee all, and in his waning age 
Set foot under thy table." 

Shakespeare's task seems to have been, in a word, to write 
the Induction and the actual Taming of the Shrew. His asso- 
ciate took the task of furnishing a subordinate plot which should 
serve as a setting for the main action, the taming of Katharine 
by Petruchio. The suggestions for this subordinate plot were 
taken from The Supposes. 

Let us now look for any peculiarities in the language of TTS. 
which may serve to confirm our results or to call them in ques- 
tion. 

I have already mentioned the contractions, 'point, 'pointed, 
\ems and 'leges, which occur only in this play. ( See p. 66.) 

The doubtful character of arguments drawn from words which 
occur only in a single play has been pointed out by Mr. R. 
SiMPSON. M 3 It seems strange that the following words occur in 
the genuine parts of this play and nowhere else in SHAKE- 
SPEARE: jugs (Ind. ii. 90), undress ( Intl. II. 119), mother- 
wit (II. i. 265), incredible (II. i. 308), tripe < IV. iii. 20), 
frolic (as verb, IV. iii. 184). We can only console our- 
selves with the thought: "It is a part of probability that 
a great many improbable things will happen." On the whole. 

103 Trans. New Sh. Soc, 1874, p. 114- 



72 ALBERT H. TOLMAN. 

the words occurring in the non-Shakespearian parts of this 
play and not in the other plays seem to me to be more striking 
still. Some of them are : plash (I. i. 23), stoics (I. i. 31), met- 
aphysics (I. i. 37), longly (=longingly, I. i. 170), trance (I. i. 
182), trot (=old hag, I. ii. 80), seen (=versed. educated, I. ii. 
134), clang (I. ii. 207), contrive (=spend, wear out, I. ii. 276), 
pithy (III. i. 68), gamut (III. i. 67, etc.), slit (V. i. 134). Espe- 
cially deserving of attention are the following words, inasmuch 
as they occur more than once in the un-Shakespearian portions of 
this play, and not at all in the other plays : specially (I. i. 20 and 
121), mathematics (I. i. 37, II. i. 56 and 82), dough (I. i. no and V. 
i. 145), wish (^recommend, I. i. 113, 1.ii. 60 and 64). Schmidt's 
Lexicon gives nineteen cases of the form especially. The word 
constantly used by Shakespeare in the meaning of to recom- 
mend is the simple verb to commend. Schmidt considers the 
above cases of wish to be elliptical expressions in which the word 
has the meaning to invite. To i?iviie is a very common verb 
with Shakespeare. I have made use of Fleay's table 
here. 10 * 

This treacherous argument seems to have some force in favor 
of our general division of the play, but is of no use in attesting 
the details of that work. 

The word agreement occurs four times in the plays ; once in 
Henry IV (I. — I. iii. 103), and three times in the non-Shake- 
spearian parts of TTS. (I. ii. 183 and IV. iv. 33 and 50). 
Agreement seems to be the accent in , 

" No worse than I upon some agreement." 

IV. iv. 33. 

I. ii. (not by S.) shows a striking jumble of prose, doggerel 
rhyme, and blank verse. One line deserves especial attention : 

" For to supply the places at the table." 

III. ii. 249. 

Richard Grant White says, " Shakespeare and Marlowe 
never use this uncouth old idiom [for to], which, though found 
in some of the literature of their day, seems even then to have 
been thought inelegant." 105 

Schmidt's Lexicon enables us to correct Mr. White at this 
point. The two instances of for to in Titles Adronicus, and one 



104 Trans. N. S. Soc, 1874, p. 90. Not republished in Shakespeare Manual. 

105 Sh's 'Works,' VII, p. 431, " Essay on the Authorship of Hy. VI." 



TAMING OF THE SHREK ;;, 

instance from a part of Pericles which HUDSON prints as 
un-Shakespearian, are less important; but All's Well and Win 
ter's Talc furnish each, one undoubted case. The text of Ham- 
let, as usually printed, contains two instances offer to\ by some 
mistake, one of these, in the grave-digger's song I V. i.». is not 
cited by Schmidt. The Folios give Hamlet I. ii. 1 75 in lll( ' 
form, — 

"We'll teach you to drink deep ere you depart "— 
but Schmidt gives the older text as showing here a third 
instance of for to in this play. Strange to say, Schmidt 
fails to cite under for to this very line in TTS. which we are 
now considering. I give all the references : Titus An., IV. ii- 
44 and IV. iii. 51 ; Pericles, IV. ii. 71 \ All's jr., V. iii. 181 : 
Winters T., I. ii. 427 ; Hamlet, I. ii. 175 ( see above),— III. i. 
j 75j — and V. i. 104; Taming of the S., III. ii., 249. 

I think we can still look upon this line in TTS., — " For to 
supply the places at the table," as suspicious. 

" The frequent stress laid upon unemphatic syllables " and the 
fondness for inversion, which Dr. Abbott notes in the opening 
lines of the play 106 , reappear in the other non-Shakespearian 
parts of the play. Note the following passages : 

" But to her love concerned! us to add 
Her father's liking: which to bring to pass, 
As I before imparted to your worship, 
I am to get a man,— whate'er he be, 
It skills not much, we'll fit him to our turn,— 
And he shall be Vincentio of Pisa.' 1 

111. ii. 130-735. 

" And, for the good report I hear of you 

And for the love he beareth to your daughter 

And she to him, to stay him not too long, 

I am content, in a good father's care, 

To have him match'd ; and if you please t<> like 

No worse than I, upon some agreement 

Me shall you find ready and willing 

With one consent to have her so bestow 'd ; 

For curious 1 cannot be with you, 

Signior Baptista, of whom I hear so well." 

IV. iv. 2S-37, 

The frequency of Latin and Italian quotations in this play is 
noticeable. These all come in the non-Shakespearian parts. 

106 Trans. X. S. S. 1874, p. 121. 



74 



ALBERT H. TOLMAN. 



The length of the Italian quotations is striking. See especially 
Act. I Scene ii. Sly's blundering " paucas pallabris " happens to 
be from the Spanish (for " pocas pallabras ") ; and it has no 
smack of pedantry or false realism on the part of the author. 

The great number of classical and learned allusions in the non- 
Shakespearian parts of TTS. has attracted attention. One part 
of the Induction, too, is filled with names taken from classical 
mythology ; but the fitness of these " wanton pictures " to the 
purpose in hand is there very striking. 

The metrical differences between the Shakespearian and non- 
Shakespearian parts of the play are very striking — much more 
convincing, of course, than they could be if we had made them 
the principal consideration in dividing up the play. I can best 
present the metrical peculiarities of the different portions in the 
form of a table. Where we have made any peculiarity a ground 
for rejecting a passage, as in III. ii. 84-88, it would be reasoning 
in a circle to look upon the table as giving any confirmation to 
our view, except as we omit from the table the passage in dis- 
pute. In preparing these figures, I have followed strictly the 
Globe edition of TTS., preferring to have the text determined 
for me by an unprejudiced party. I have treated speeches as 
verse or prose according to the view there followed, whenever 
that is clear. In some cases the decision is difficult. 



Shakespeare's Part in tts. 




Totals. 1262 241 102 1 960 33 187 



30 



31 26 



TAMING OF THE SHREW. 



75 



NON-SHAKESPEARIAN PART OF ITS. 





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259 


62 


197 


176 


'5 


21 




20 


9 




10 2 


I. ii. 


282 


46 


236 


202 


18 


37 




36 


16 




7 4 


II. i. 
1-114 


114 


16 


98 


94 


6 


16 




2 


2 




2 — 


11. i. 


87 




87 


S 2 


,0 


17 




12 


— 




3 — 


327-413 


°7 




III. i. 


92 


16 


76 


71 


2 


5 




12 


— 




1 3 


III. ii. 


88 


51 


37 


3' 




9 




5 


5 






1 


1-88 








III. ii. 

126-185 


60 




60 


57 


6 


4 




4 


— 




2 1 


III. ii. 


13 




•3 


13 




6 




2 








242-254 














IV. ii. 


120 





120 


Il6 


6 


31 




5 


— 




2 2 


IV. iv. 


109 


31 


78 


67 


4 


18 




4 


2 




7 2 


V. i. 


155 


123 


32 


26 


1 


3 




H 


4 




2 


V. ii. 


8 





8 











8 


8 






— 


182-189 








Totals. 


1387 


345 


1042 


935 


68 


167 




124 


46 




36 15 


Totals 
























tor 


2649 


586 


2063 


1895 


IOI 


354 




154 


46 




67 4i 


Play. 
























Totals 
in 'Leo- 














5 


Meas. 




1 Meas. 


pold 












Double 


109 
Short 
Lines 15 




2M 


IS 


Shak- 
spere,' 


2671 


5i6 




1971 


' 


End 'gs. 

260 




3M 
4 M 


22 

23 


from 


























Fleay. 
















184 






67 










S 


UMJ 


1ARY 


OF TABLE. 


















. 












j 








V. 




<r. 












V • 






V 


V 


V 




V 


E c 










"^ ^ 


■ O m «J 






c 






a 










»> , 


. O V 


>J= c S 




_; 


J 


^ 


'■J V 


— — 


— . s 


1/ 




V 

u 


> ifl 










pi 


V 




u 

1* 

V 


0-? 










bo 

O 

Q 


si 




° H h M 

r" u t " 



Shake 
speare. I262 241 io21 96 ° 33 l8 " 3 ° ' ° 3' 26 4 

Non- 
Shake- 1387 345 1042 935 68 167 124 46 36 15 10 
spear' n 

The great difference between the number of " Feminine End- 
ings " in my table (354) and the total number of" Double End- 
ings" as given in the ' Leopold Shakspere ' (260) may be due 



76 



ALBERT H. TOLMAN. 



partly to the fact that many endings in Shakespeare's use 
have sometimes the value of two syllables and sometimes that of 
one syllable. 

I reckon as Alexandrines the following : in the non-Shake- 
spearian parts, I. ii. 23, 24, 151, 165, 228, 236, 237; II. i. 405, 
413; and III. i. 54=10; — and, in the Shakespearian parts, IV. 
iii. 44; IV. v. 16; and V. ii. 43, 175=4. The ' Leopold Shaks- 
pere ' gives 5 as the total number of 6-measure lines. 

The most striking fact about the table is that Shakespeare's 
associate has all of the doggerel and more than four-fifths of 
the rhyme. 

I find 11 lines in the play whose first foot seems to be com- 
posed of but one syllable ; and 29 lines which contain an extra 
syllable at the pause. These lines are used with equal freedom 
by both writers. 

I will call especial attention, farther, only to the run-on lines. 
Konig io 7, in his admirable discussion of Enjambemcnt in 
Shakespeare, shows very clearly that many factors come into 
play here, and that it is impossible to make a sharp division of 
the heroic lines in a play into two distinct classes, " stopt" and 
" unstopt." I have reckoned lines as " stopt " whenever possi- 
ble, i. e. whenever it seemed at all natural to read a line in such 
a way as to give a clear pause at the end. Hence my total falls 
below those of Furnivall and Konig. Furnivall finds 121 
"unstopt" lines in the play, out of 1930 5-beat verses (6.3$). 
I find 101 such lines out of 1895 (5.3$). K6xig finds 8.1 #). 
As Furnivall has already pointed out, the associate uses 
these lines much more freely than Shakespeare. 

Fleay's elaborate discussion of the authorship of TTS. IoS is 
very unsatisfactory. After giving specimens of six classes of met- 
rical peculiarities in this play, he says, " These peculiarities of 
metre are enough of themselves to show that the greater part of 
this play is not Shakspere's." He then adds a seventh peculiarity, 
"the frequent contraction of the word ' Gentlemen ' into ' Gent-' 
men ' ". He gives eight specimens under his first class, but six of 
them come in the parts of the play which lie afterwards assigns 
to Shakespeare (see Furnivall's comment). Of a second pe- 
culiarity, he gives eleven specimens, afterwards assigning four of 

107'Der Vers in Shaksperes Dramen." Qu. und Forschungen, lxi, p. 97. 
108 Trans. AVw Sh. Soc, 1874, and Shakes. Manual. 



TAMING OF THE SHREU 



/ / 



them to Shakespeare. .Many of the lines given under his 
third class seem to belong elsewhere (see K6NiG,p.84). Of the 
seven that I can read as he does, he afterwards gives lour to 
Shakespeare. The five lines in his fourth class can easily be 
read in a different manner, and I think should be. One of them 
is afterwards given to SHAKESPEARE. The fifth class is com 
posed of "the doggerel lines, chiefly of four measures in each 
line." Flaey's statement, "Lines like these of four measures 
occur nowhere else in Shakespeare," is simply amazing. The 
farcical features of TTS. make us think of the Comedy of Errors. 
In Act III. Scene i. of that play, Fleay can find a hatful of 
such lines. They occur, also, in other plays. (See KoNlG, p. 
120). Of Fl hay's sixth class of peculiarities, SHAKESPEARE 
finally gets more than the associate. KoNlG finds the use of 
gentleman as equivalent to two syllables to be a frequent thing 
throughout the dramas (p. 35). 

At the close of his paper, Flkay gives typical passages illus- 
trating the different styles to be found in this play. Here he 
questions Shakespeare's authorship of that peculiar and sig- 
nificant feature of TTS., the scolding speech of Petruchio, begin- 
ning "O monstrous arrogance!" (IV. iii.) He takes away 
from Shakespeare another passage in IV. iii. These passages 
have already been unquestioningly attributed to the poet in 
Fleay's own table. 

There are some, differences between the various non-Shake- 
spearian parts of TTS. which suggest the possibility that 
Shakespeare had more than one helper in the production of 
this play. The strutting rhetoric of the opening speeches does 
not again appear. The situations of Act I. are also found in 
TAS. Otherwise the non-Shakespearian parts borrow espe- 
cially from The Supposes. A large number of the peculiar 
words already noticed as occurring in TTS. and not in other 
plays of the First Folio (see p. 72) appear in this Act. Hut we 
have seen that " the frequent stress laid upon unemphatic sylla- 
bles" and the fondness for inversion are common both to the 
non-Shakespearian parts which come earlier in the play and to 
the later ones (See p. 73). • The differences between the various 
non-Shakespearian portions do not seem to me greater, on the 
whole, than those which may well mark different portions of the 
work of one author. 



7 g ALBERT H. TOLMAN. 

I have no clear light as to who Shakespeare's associate was 
in composing this play ; but I would call attention to certain cor- 
respondences between his work and that of Robert Greene. 
These correspondences concern especially Greene's master- 
piece, the play entitled Friar Bacon and Friar Bungay. 

Many such abbreviated words as we have found in the work 
of the associate author of TTS. (See p. 66) occur in Friar 
Bacon and Friar Bungay; e. g. Hired (for attired, i. 145, iii. 45, 
vi. J 18), "grec (for degree, x. 47), 'tide (for betide, .xiii. 14), and 
many others (See Ward, Old Eng. Drama, p. 213). The same 
play has the oath " Gog's wounds " (vi. 128), which occurs no- 
where in the plays attributed to Shakespeare outside of TTS. 
III. ii. 162, where we have assigned it to the associate. Friar 
Bacon has also a number of such word-twistings as the co- 
laborer puts into the mouth of Grumio : e. g. reparrel ( V. 49), 
niniversity (VII. 85), for apparel and university. 

We have found one infinitive with for to in TTS. (III. ii. 
249). I have already commented upon White's statement that 
Shakespeare does not use this idiom (p. 72). He also 
declares that it is not used by Marlowe. He continues : 
" Peele .... avails himself of it \_for to~\ but half a dozen 
times throughout all his works ; but Greene seems to have had 
a fondness for it ; or rather to have been driven, by the poverty 
of his poetical resources, to eke out his verses with this phrase, 
which is not found in any of the humorous prose passages of his 
dramas. io 9 

The phrase in question occurs seven times in Friar Bacon; 
I cite two of the cases : 

" Ride for to visit Oxford with our train." 

Dyce's Greene, p. 159. 

" Stays for to marry matchless Elinor." 

Ibid. p. 177. 

The associate author of TTS. seems fond of the word /or, and 
often gives it the accent. See the opening speech of Act i. 
which has already been cited (p. 60). Compare the following : 

" First, for thou cam'st from Lacy whom I lov'd, — 
Ah, give me leave to sigh at very thought ! — 
Take thou, my friend, the hundred pounds he sent; 
For Margaret's resolution craves no dower : 
The world shall be to her as vanity ; 
Wealth, trash ; love, hate ; pleasure, despair: 

109 'Shakes Wks.,' VII, p. 43L 



TAMING OF THE SHREIV. 

For I will straight to stately Framlingham, 

And in the abbey there he shorn a mm, 

And yield my loves and liberty to Cod. 

Fellow, I give thee this not for the news. 

For those be hateful unto Margaret, 

But for thou 'rt Lacy's man, once Margaret's love 

Friar Bacon, Sc. X. 153 164. 

In the abundance of its classical quotations and in the manner 
of introducing them, Friar Bacon shows a great similarity to 
those parts of TTS. which are now being Considered. ''Age 
nor," a name coming only in TTS. in the Concordance (Li. 
173), is also found in Friar Bacon (IV. ii). Paris, the Trojan, 
is named once in / Henry VI., once by the associate, in TTS. 
( I.ii. 247,) and in Troilus and Co., and nowhere else in SHAKE- 
spearf.'s plays. His name comes twice in F>iar Bacon (iii. 69. 
xii. 6). 

" Gramercies " occurs three times in the plays, — twice in TTS. 
(not in Shakespeare's part) and once in Timon of Athens. It 
comes twice in Friar Bacon. I cite the four lines in question : 

"Gramercies, Tranio, well dost thou advise." 

TTS.. I. i. 41, 

*' Gramercies, lad, go forward ; this contents." 

Ibid., 1. i. [68, 

" Gramercies, Bacon ; 1 will quit thy pain." 

Friar I > aeon, Sc. v. ri2. 

" Gramercies, lordings ; old Plantaganet." 

Ibid-., Sc. xvi. 6. 

Friar Bacon has a good number of Latin quotations. The 
scene being laid in England, there is no occasion for introducing 
expressions from the Italian. 

On the contrary, frolic as a verb is found only in the Shake- 
spearian part of TTS., among all the plays. It occurs in Friar 
Bacon (xiii. 1). 

Friar Bacon contains more than fifty lines of 2 -accent dog- 
gerel. We have found some of this in the non-Shakespearian 
part of TTS. (See p. 67. ) 

Greene's other plays do not show so much verbal agree- 
ment with TTS. as does Friar Bacon. LODGE assisted him m 
the writing- of A Looking Glass for London and England, and 
the authorship of George-a- Greene is doubtful. There are but 
three other plays left to us for consideration : Orlando I : arioso, 
James IV. and Alphonsus King of Arragon. 



80 ALBERT H. TO L MAN. 

Abbreviated words like those in Friar Bacon do not occur so 
abundantly in the other plays. Orlando Furioso has 'miss for 
amiss, and 'gree for degree. 110 Alpho?isus has 'dain for dis- 
dain in two places in Act i., and elsewhere in the play. 

I have noted one case of for io in James IV. and nine cases in 
Alphonstts, but there are probably others. The phrase comes 
in the first stanza of Greene's longest poem, "A Maiden's 
Dream." I have not noted any instance of it in Orlando Furi- 
oso. I have not access to a copy of Greene's works at the 
present writing. 

The great fondness of Greene for the word for is noticeable 
in Alpnonsus, in addition to the abundant use of for to in that 
play. I noted four instances of the combination for because in 
the first two Acts of Alpkonsus, when not reading the play with 
especial reference to this point* Schmidt gives for because as 
occurring but three times in all the plays of Shakespeare. 

The word Gramercies does not occur in the undoubted plays 
of Greene outside of Friar Bacon. It occurs once in the 
doubtful play George-a- Greene. 

I have already called attention to the word seen in TTS., I. ii. 

134. 

" .... a school master 

Well seen in music." 

This passage is non-Shakespearian, and this meaning of the 
word is found nowhere else in the plays ; but we have the same 
use in Greene's fames TV., Act v. Scene v : 

" But I that am in speculation seen." 

We have the best of reasons for connecting Greene and 
Shakespeare together, though not as fellow workers. We do 
this on the ground of Greene's oft-cited reference to " Shake- 
scene " in the pamphlet written upon his death-bed, "A Groat's 
Worth of Wit Bought with a Million of Repentance." Here 
Greene speaks as if Marlowe, Lodge and Peele stood in 
the same relation to Shakespeare as himself. Their names are 
not given ; but his messages to unnamed persons are commonly 
interpreted as addressed to them. He says at last : " . . . 
there is an upstart crow beautified with our feathers, that, with 
his Tygres heart wrapt in a player's /ryde, supposes hee is as well 
able to bombast out a blanke-verse as the best of you ; and, 
being an absolute Johannes-fac-totum, is in his owne conceyt 
the only Shake-scene in a countrey." 



iioDyce's 'Greene,' pp. 109, 91 and 107. 



TAMING OF Till-: SHREW. 8l 

The reference to SHAKESPEARE is made certain by the 
resemblance of one phrase here to the line in ///. Hy. 17., 

"O tiger's heart wrapt in a woman's hide." 

I. iv. 137. 

Although Greene speaks for his three fellows and himself, it 
is natural to suppose that he is thinking especially of his own 
case. His name has been often brought into connection with 'ITS. 
So far as I know, this has always been done by attributing to 
him either a part or a whole of the companion play, TAS. 
Richard Grant White says : " It is quite uncertain who was 
the author of The Taming of a Shrew In my opin- 
ion, it is the joint production of Greene, Marlowe, and, possibly, 
Shakespeare." (Vol. IV. p. 391.) Malone, Knight and 
Hudson think that Greene may very well have been the sole 
author of TAS. I have not been led to discern a second hand 
in the old play, or to see Greene's hand there at all. I wish to 
ask the question whether Greene may not have been the associ- 
ate of Shakespeare in writing TTS. ? 

Some genuine common power is shown in TTS.. outside of 
the Shakespearian portions. It is in place, therefore, to re- 
member that Chettle called Greene " the only comedian 
of a vulgar writer in this country." 111 Nash says of him : " He 
made no account of winning credite by his workes." II2 

Let us notice also a passage in a tract called Greene's Fune- 
rals, 1594 : 

" Nay, more ; the men that so eclipsed his fame 
Purloined his plumes : can they deny the same? "«3 

The fact that Greene died in 1592, much before the sup- 
posed date of TTS., is a difficulty. Shakespeare may have 
revised in riper years his part of an earlier play which he and 
Greene wrote together. It is more probable, however, that 
Shakespeare's helper in writing TTS. was simply an ardent 
admirer of Greene's work, and especially of the play Friar 
Bacon, and that the resemblances between his writing and 
Greene's can be so explained. 

Upon what terms did Shakespeare, and his helper divide 
their work between them ? 



in Kind-Harts Dreame. See Dyce's ed. GREENE. 

ii2Strange Newes, 'Dyce's Greene.' 

113 See Hudson's ' Sh.' Harvard Ed. Introd. to Part II. ffy.VI. 



8 2 ALBERT H. TOLA/AN. 

If Shakespeare wrote, as we believe, the core of the play, 
the actual taming of the shrew, he gave practically his entire 
attention to but three characters — Petruchio, Katharine and 
Grumio. We should naturally conjecture, therefore, that he 
wrote his part first, and then handed it over to the associate for 
completion. The picture is not made to fit the frame, but the 
frame to fit the picture. 

There are some things that corroborate this view. In Act II. 
Sc. i., Shakespeare's part is enclosed within the work of his 
fellow-author. The two parts of Act III. Sc. ii. that I have as- 
signed to Shakespeare are enclosed within the three parts given 
to his assistant ; and the Scene ends with a distinct tail-piece 
written by the associate. The whole of the last Act of the play 
has been assigned to Shakespeare; except a meaningless tail- 
piece of a few doggerel lines. These lines would naturally be 
written by the one who put the last hand upon the play. 

I hold, then, that Shakespeare wrote the core of the play, 
the actual taming of Katharine, and that this was the first part 
of the play that was written. The artist then gave his picture 
to the artisan to be framed. The artisan-associate finished the 
play, and left it in its present condition. 



EttRATA. 



P. 21. After i, 2, 3, read: "nearly the same that have just been 
given for TAS. " In the second line below, read: " the false 
father of the false Lucentio is Pedant-Vincentio." 

P. 22. The cross-reference is to pp. 20 and 21. 

P. 26. Eleven lines from the bottom, for "making" read "marking." 

P. 31. In the .last line, read " tumbling." 

P. 33. 2 should read : "It is just the . . . .parts of TTS. which borrow 
most freely from TAS." 

P. 37. Near the middle of the page, read : "than it is permissible 
to use here." 

P. 52. Near the bottom of the page, in the second column, read : 
" I doubt the mustard is too colerick for you." 

P. 59. In the middle of the page, for "the subordinate partner or 
partners," read "his partner or partners." Transpose the begin- 
nings of the next two lines. 

P. 79. Near the end of the first paragraph, read "Trotlus and Cr." 
Strike out the preceding "and." 

Table of Contents. 

A. a. should begin : " The Taming of a Shrew (TAS.) and The 
Supposes , etc." 

A. b. For TAS., read TTS. 



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